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insirisarts · 4 months

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Origins of Olympus - Reimagined

Chapter 1: Welcome to Camp Oasis!

The sun beamed down onto the sand; the sky was clear of any clouds. The heat of the desert would’ve been unbearable for any human unlucky enough to be caught in its never-ending expanses. After all, mortals could not find their way to a place like this, especially not to its oasis. Even if they did, the gods would smite them for trespassing onto the sacred land. A place where the finest of greenery and produce grew; food was abundant, the water was so clean, you could drink it from the source, and filled with fauna so docile, even tigers could have been considered house pets. However, these individuals are by no means ‘mortals’. For these people are children of the gods. Blessed to walk the lands of Gaia with the grand powers of their parents. Striking the earth with powerful volts, bringing the motions of the tides, guiding souls to their final resting place, and even becoming the light of the sun themself.

An echidna stood tall on the entrance platform, backlit by the magic doorway behind her. Orange scales shining in the mid-afternoon sun. Her large wings sat solidly on her back, accentuating her posture. The woman's human upper half was covered with a red-orange dress, which was trimmed and decorated with gold. Gold bracelets were also placed on her upper and lower arms, and on the end of her serpent tail. Each of these bracelets were jeweled with three bright orange stones which matched her fiery irises. Scales traveled up the young woman’s body, spotting her shoulders, ears and face with the same burnt orange as the asymmetrical horns buried in her dark brown hair. Her heavy-lidded eyes surveyed over the slowly building group. Demi-gods to be specific.

“Hello everyone, I am Kaykrea and welcome to the Oasis of Demeter.” Kaykrea introduced, catching the attention of the present demi-gods. She had situated herself on the marble steps leading to the entryway of the camp, which was blocked by a form of powerful magic that none of the others could quite figure out.

Beside her was a girl who had arrived earlier that day, a harpy named Marshie. She was white winged harpy, in a dark crop top with a long striped light purple shawl that fell past her shoulders. Her laurel was decorated with small golden sunflowers and sat atop her long strawberry blond hair, some of which had been pulled back to make a cute loose ponytail. Her outfit was finished off with some jean shorts that stopped above her more eagle shaped legs and taloned feet. They had taken time to chat during the wait and already found that they got along rather well.

“I will be your designated camp counselor.” Kaykrea's large, scaled wings spread to frame her sculpted body; her lower serpent body raising the human half to stand tall over all of the campers. “Today will just be a simple meet-and-greet with a tour of the campgrounds. Then we will have a short session with The Oracle later this evening.”

Many already had looks of admiration or excitement on their faces; except for a man with long shaggy white and red hair off to the side, who simply rolled his eyes at her. She figured that this one may eventually become a problem and mentally noted to keep an eye on him. “First will be introductions, we will start with you.” She stated, pointing at a man with black hair and yellow highlights, frizzed by what appeared to be static.

The man stood a bit straighter now that the attention was on him, his black eyes widening slightly from being singled out, “I am Mario, son of Zeus, God of storms and lightning!” Mario proclaimed. His looks only pushed the idea. His toga was black and yellow with hints of white under the garment and light blue accents. Lightning motifs could be found in his laurel, arm armor and his white sash in the form of a lightning shaped fibula brooch. Throughout his arms and legs, his veins seemed to glow an electric yellow on his sun-tanned skin. He stood with confidence, almost looking like he was about to burst with unstoppable energy.

The Echidna nodded in approval; a child of Zeus was sure to bring some excitement. “Thank you, Mario. Now you, the one in blue.” She moved on, gesturing to a man with a much shyer demeanor, as he sat much more hunched over compared to the rest of the group.

“Uhm… Jakey, one of the sons of Poseidon.” Jakey mumbled, just loud enough for Kaykrea to glean. Besides the small, high collard coverup on his shoulders, he was shirtless, showing off his swimmer's body. The armor over his left pec was layered and traveled over to part of his back, with large light blue inset jewels glittering in the light. At his hips sat a blue 5-layered skirt-like bottom that split at his right hip, the exposed part of which was covered by a cloth tied to the skirt. His arms and legs were protected by silver armor shaped like fish and similarly jeweled like the rest of his armor; his hands were covered in dark blue fingerless gloves. A tasteful crown was planted in his brown and blue hair with the same light blue gem, his hair had been put into a french-styled braid on both sides of his head that then came together into a long skinny braid in the back. On his back, sat a long bident with jewels spotted on the head, and the end had a shark fin shape.

Kaykrea nodded in satisfaction and was about to move on to the next camper when a new voice joined the group.

Distant shuffling sand could be heard from the distance. “I’m sorry, I’m here, hold on-!” Shouted a young man with short white hair. His ears were pierced and accompanied by golden ear clips covered in rose leaves. A cropped himation draped over his right shoulder which was pinned by a sort-of star shaped fibula brooch. His two-layered red skirt with gold trim swayed with the movement of his legs. He had shoulder pads that appeared to have rose designs that matched the rose on his dark gray belt, which matched the leather armor on his arms. Small white wings flared from the shoulder pads and his golden shoes. Two hooked swords were connected at the hilts which gave the shape of an S sat on his back along with a small satchel, assumedly a physical god pocket, likely it had all of his other essentials in its magic confines. He skidded to a stop with the rest of the group; bending over to catch his breath, using his knees as support.

“I, huf, apologize, hrff, I was distracted, hooh…” He rushed between labored breaths; his body lightly shook from overexertion.

“And… who might you be?” The orange serpent inquired, drawing out her sentence.

With one last deep gasp of air, the white-haired man responded, “I’m Bryan, the son of Aphrodite; the goddess of love, beauty and passion herself!” Bryan flicked his hair back haughtily and stood with his head held high. The motion made him look back and lock his eyes onto Jakey. This made him freeze in the middle of his display; a light pink softy grazed his face, and he awkwardly took a few steps back to get a proper look at the other man, honey brown eyes holding an intense stare.

‘…Poor guy…’ Kaykrea sympathized, even though the boy in blue didn't even seem to notice Bryan. However, she quickly corrected herself and went back to the meet-and-greet. “Thank you, Bryan. Now then, let's move on to… you.” She brought attention to a man with ashy skin.

The man with the sides of his head shaved and a braid going down the back of his scalp, a chunk of which was bronze. Thick sideburns lead to a scruffy but well-trimmed beard. He awkwardly lifted his hand in a wave.

“Ah, Xylo. Son of Apollo.” Xylo greeted. His laurel also had a bronze color, sporting, strangely enough, pomegranate leaves. Bronze spartan armor on his torso and lower legs, along with a layer of leather pteruges at his waist along with shoulder pads that had sun designs glazed on. Over his protective layer there was a bright multi-colored sash, going from a dark purplish blue to a bright sunny yellow curving around his body to also become his belt and dangling the leftover fabric in the front. The cloth was pinned down by bronze peronai on his right shoulder and where the cloth hung off at the belt, they were in the shape of the sun with four points, inside being bright yellow glaze. He had single point claw gauntlets in a similar sun shape attached to thick fingerless leather gloves. At his hips, an open hip cape hung to his knees, a bright pattern depicting a sun in a wavy sky adorned the garment. Another odd part of his look were his dark purple eyes, it almost looked like they didn’t belong, or that he didn’t belong.

Kaykrea had scrunched her nose in frustration, heavy lidded eyes glaring aggressively, bowing her head to show off her dark orange horns at the ashen man. Apollo… Apollo… Mother…

“Ah… thanks.” She bluntly stated.

Xylo had an expression of mild offense but decided to leave it be for the time being.

As the rest of the meeting went on, more of the godly children introduced themselves. A second son of Poseidon named Mitch. He too, lacked a shirt and wore a coverup on the upper part of his torso and wore a far more gaudy golden crown. Although, his face was half covered in black scales. He was much darker than Jakey, with a more deep sea/ocean look to match with his black and blue clothing, with small bioluminescent adornments. He also held the trident, at this mention, Jakey made his own snide remark about poor choices in part on their father.

The man KayKrea had taken note of earlier was named Brandeen, who was a son of Ares. His style leaned towards more human than Olympian it appeared, not that it was any concern to her as plenty of gods and demi-gods had spent at least some time around mortals and their ever-expanding culture. His overall appearance was dark, his disheveled black and white striped shirt and ripped black pants made up part of his look. A dark red pleather biker jacket, which was accented with smaller bits of a brighter red, brought it all together. Around his arms were bandages with blades tied at the ends that pulsed with divine energy; those must be his weapons.

Further back was a Satyr woman named Relena, the adopted child of Artemis. Her hair was a subtle mix of light and dark brown. She was dressed in much more casual human clothing, having a halfway split turquoise and light pink short jacket over a plain white crop top, the pink matching her horns. The jacket had its sleeves ripped off, showing her strong arms. Her jeans were intentionally ripped at her knees, keeping it out of the way of her more animalistic legs and hooved feet. An attempt was made to paint her hooves the same pink as her horns. Slung across her hips sat an ornate silver bow with a quiver of arrows.

At the end of the lineup stood a man almost completely clad in black, battle armor being placed over his original clothing. His name was Brick, one of the very few children of Hades. He had a black war helmet with the holes for the face covered by a bright purple energy. His speech was short and abrupt, only giving his name and heritage in a sharply cold manner.

Kaykrea knew there were other campers yet to arrive, but she had to start with the tour before it got too late in the day. So, with a large flap of her orange wings, she instructed the present campers to follow her for the tour of the camp. Entering through the enchanted doors of Camp Oasis, guarded by large spear-wielding statues, they followed a small path. The path led to a sort-of roundabout, which had small sections of path that lead away to other parts of the camp. Surrounding the group was a quaint little garden, and at the roundabout’s center was a marble fountain that poured water as blue as the sky. Many flowers covered the area surrounding the outer rim of the path around the fountain. However, Bryan took particular interest in the Rose bushes.

“Oh, I heard about the nature here!” He exclaimed with adoration and fondness, earning him odd stares from the others. “About how it all seems to live or even thrive! These roses are beautiful, what do you do to make them grow like this?” He would have continued to fawn over the red flowers if he weren't interrupted.

“Bet you sure know a lot about this junk, huh?” Mario taunted. It sounded playful, but that didn’t stop Bryan from shooting the other with a sharp glare.

“Sure do…” The white-haired man mumbled. Mario sucked in his lips, like how one would with something sour, he figured that he shouldn’t have spoken up.

“Alright!” Kaykrea interjected, clapping her hands together to catch the two boys' attention. “Let's get a move on up the path!” She ushered, wanting to avoid a first day conflict.

Up the path was the training area. Fully packed with dummies, targets and even a small sparring ring with a little viewing area. A good handful of campers took potshots at the targets, using either their weapons or godly powers, with varying rates of success and accuracy. Further down was a sports area, consisting of both old Olympic sports and modern human sports. Next to the sports fields were the cabins. They were charming, being made in a rustic style and crafted from the same wood as the surrounding towering trees. She said that cabins would be assigned after the tour, during dinner. Most were able to house two or so people and stood overlooking the surprisingly close gulf that led out into the ocean. Nearby, a dock sat with fishing boats stranded on the shoreline. Fishing equipment had been provided on the dock, along with some outdoor cooking equipment in a small shed nearby. Next was the camp hall, for campers to meet and socialize. A bonfire circle sat just beside the mess hall, it had yet to be lit, although it seemed to have been recently stocked with firewood.

“This is where we will have our rendezvous after you settle in and have dinner this evening.” She explained, letting everyone gather before continuing. “Then The Oracle will come and give us a free prophecy. Afterwards, you will earn the right to meet with them eventually, but that is a discussion for later throughout your stay.”

Then the mess hall. The Hall was very large, it would have no trouble fitting the entirety of the camp once they were all there. A heavenly smell came from the building, a mixture of sweet and savory that caused the campers mouths to water with anticipation. Finally, was the shower and bathroom area, having both separate and unisex washrooms, and a small bath house.

She pointed to a distant building. It was a small temple, with a securely locked door. So secure in fact that there was no lock, only magic.

“That is where The Oracle resides. You are not to bother them unless you are given passage, or they decide to summon you.” She declared with finality. Asserting that the building was fully off-limits otherwise.

With that the campers were released and left to their own devices. Some had gone to chat by the cabins and others went to either look around the camp or to use the training area. Kaykrea herself went to the mess hall to finish preparing for that night's feast.

Soon enough, they were brought back to the mess hall, where an entire buffet was set up. Different tables had different types of food. Fruits and vegetables were set to one side of the buffet. Large fruit bowls held exotic fruits not even native to their part of the world, and the veggies had been grown right on camp property and harvested that day. A range of different meats sat in the middle of the arrangement, from the finest steaks to moist and well-seasoned fowl and poultry, to fish from both fresh and saltwater. At the other end were deserts and drinks. Pies, cakes and pastries alongside juices, nectar and ambrosia. It was now bustling; some others had arrived at the camp over time and joined in on the festive atmosphere.

During this time, Kaykrea went around telling campers to take a card from a small deck. The cards were in pairs of colors and a cabin number, and those with matching pairs would bunk together. On occasion, some did not get a cabin mate, not that any of them seemed to mind, like Mitch. However, most did have two people. Xylo and Jakey, Relena and Brick, even Brandeen had a cabin buddy. Although, she had not learned his roommate's name yet. Glancing around, she could see the Demi-gods socializing, looking for anyone who had a matching card or simply enjoying the food. Bryan approached her to receive his card, fittingly, red. Not that she knew if anyone else had a red card, but she had caught a glimpse at his. She internally chuckled at the irony.

“Did anyone else get red?” He inquired over the crowd, causing a mild awkward silence as everyone else double checked their cards.

“Over here!” A voice replied, a hand darting up over the crowd to display their card.

Bryan made his way over to his roommate for the summer. Only to come face-to-face with Mario. He could hardly hide his disappointment. Obviously still salty about the comment made earlier that day. Mario held a poorly disguised expression of awkwardness, not knowing how to tackle the subject. Kaykrea was about to confront the two about perhaps changing cabins before the man in black and yellow asked if the shorter boy would be willing to meet with him outside. With a stiff nod, Bryan followed the fellow demi-god out the door. Just to be safe, the serpent woman discreetly accompanied the two.

The full moon hung at the edge of the sky, the final dim glow of the setting sun moments from vanishing. Cool night breezes chilled the earth from the heat of the summer day. The pair stood in silence, not sure how to begin the conversation. The tension was thick enough to be sliced by any blade. Which Mario dared to do.

“Listen, I’m sorry about earlier… I thought it sounded joking enough, but I could tell it flumped entirely.” He kept his warm black eyes on the ground, not really wanting to see the look the brown eyed boy was possibly giving him.

“Yeah, I get that.” Bryan spoke blankly, staring off in a random direction. “But it still hit a cord… kinda sounded like my mom…” This came out far more dejected.

“Really? Why would Aphrodite, of all gods, judge flower stuff?” The raven-haired man replied in mild shock.

“Not so much the flower thing, more so just not really understanding or accepting my interests…” The other supplied, “Me not being like my siblings… or her.”

“Oof, I feel you there, my dad doesn’t really give me much thought. Given that he has so many other kids.” Mario chuckled at his little jab at his father, he was right after all. Zeus wasn’t known for his… marital devotion.

“Not to mention that a lot of them have become either legendary heroes or have impacted history in some major way.” Mario ended his sentence with a light huff of amusement and an awkward lean “Those kinds of expectations can make someone pretty awkward huh?” he asked rhetorically, obviously trying to railroad to find common ground.

Quickly, under his breath the black-eyed man added on, “and dad can’t keep his clothes on so-”. The smug smirk that plastered his face made the other boy snerk a little, a light red came to his cheeks in embarrassment as his lips scrunched to a futile attempt to hide his amusement.

“Gross-“ the boy in red shot back with a humorous sly grin, gently shoving the other. “-but same… only with my mom.” He amended, “Anyways, no one likes to think of the goddess of love and beauty being a violent god, despite her history. I just can’t help but wonder about it.” This came in a more soft-spoken cadence, walls starting to fully drop.

“Yeah?” Mario tentatively eased. “I’m sure it must make things awkward?” He raised an eyebrow. Although drama in the Aphrodite family was not surprising, nor unheard of, seeing that outward facade be shelved for honesty and openness took Kaykrea aback slightly. Maybe she shouldn’t have eavesdropped on this conversation. It was beginning to become a little too personal and raw.

Bryan began to lean in, speaking both softer and with sincerity, the haughty persona being fully abandoned before responding. “Mhm.” He started with a small nod. “You see, I’m a huge fan of the legendary wars and heroes of the past. That led to me digging, especially since my mother was one of the main causes for the biggest war in our history…” his eyes seemed to shine excitedly, passion bleeding from his slight movements and the small grin on his face.

“I couldn’t help myself.” Bryan continued, “I just wanted to understand why we had to throw that part of our past away. Just because our family represents the many forms of love doesn’t mean we couldn't enjoy combat or sparring. Heck, I even got a gift recently that-”.

All of a sudden, Bryan trailed off, his eyes becoming listless, losing that excited bright shine. The feeling of discomfort filled the still air, and his muscles tensed.

“What?” Mario cocked his head, “Something else on your mind?” He pushed.

Bryan backed off, glancing to the side in embarrassment. “Sorry, shouldn’t have said anything…” he muttered under his breath, shoulders sinking subconsciously.

The black clothed man quickly waved his hands, trying to brush off the others embarrassment. “No, no! I was just… uh.” He took a pause; he was ruining this again.

“It’s ok. Not many people know about my mother’s past with war. Especially after The Iliad was published.” The shorter man chuckled, starting to backtrack “But I want to know… even if she doesn't really like me digging into it.” Bryan was standing normally now, a lot more bashful and uncomfortable talking about his family.

Mario planted his hand on the other in a comforting gesture, rubbing small circles into his back. In return, Bryan leaned into the touch slightly, the muscles near his shoulders flexing oddly. It was like he wasn't used to touch, or at least it had been a while since he's been comforted. Although, from what Kaykrea had observed, and her prior experience with the Olympian gods. The awkward nature of the white-haired man seemed to suggest the former.

Bryan lifted his head to look at Mario, taking a small calming breath before speaking again. “To be honest, I don’t think I know much anyway. A lot of my own memories are fuzzy…” This earned him an odd look from Mario, and Kaykrea couldn’t help but do the same. It is rather strange that he would have a bad memory. Was this what the smaller was trying to talk about before? Well, whatever the case may be, the black-haired man let it be and merely nodded in acknowledgment.

It seemed the two had spoken their peace. Overall, a little more comfort had been built between the two. Mario stuck out his hand, offering an apology and a truce to their minor conflict, which Bryan accepted with a small smile. Kaykrea huffed a small sigh of relief, glad that a fight hadn’t broken out on the first day, nor that any enemies were made. She made a quick escape back into the mess hall, moments before the other two made their reentry. It was felt in the room, everyone could tell that whatever issue was happening between the two, it had been sorted out. They went off to join the others again, starting to take far more enjoyment in each other's company than before. At least that was resolved.

About two hours had passed at this point, Kaykrea taking the time to clean up as the festivities came to a close. Many campers had joined together into small groups or cliques and every once in a while, there would be thunderous laughter that would trail back into a comfortable buzz and light chatter. She was frankly quite surprised; no fights, mild and quickly resolved conflicts, and not a single misunderstanding! It was almost as if they were in a normal human camp and not a camp full of physical embodiments of natural concepts. Although she knew that it all had to come to an end soon, it was almost time to meet with The Oracle and she needed to pick up the mess hall before then.

“Okay, everyone!” Kaykrea called, waiting for the campers' conversations to end before she announced, “It is almost time to meet The Oracle, I would like all of you to go to your cabins and drop off your things, decide who wants what bed and such. We will meet back at the bond fire, I will move on with the night whether you make it or not, so be there if you wish to listen to The Oracles’ predictions.” With that, she went to clean the tables of the leftover dishes and scraps of food.

The campers had left for their cabins to drop off their things and to get sorted before heading to the large bonfire. When it seemed that all had arrived, Kaykrea used her flaming blade to ignite the kindling, and soon enough, a fire was brought to life. The flame was large and danced with the slight breeze of the night. Cracks and pops from the wood soon followed, allowing the meeting to officially begin. Xylo, with hardly any regard for the current evening event, suddenly pulled out a large bag of marshmallows, announcing a query of whether anyone wanted some. Most around the fire whooped at the human treat, receiving their share from the armored man.

Mitch had grabbed two and offered one to Jakey, who had taken it upon himself to grab his own from the son of Apollo rather than accepting one from his brother, Mitch practically looked scandalized. Mario had done the same with Relena, who happily accepted the offer, and Bryan, who simply denied the sugar pillow after giving it a questioning glance of uncertainty. Brandeen seemed all too eager to receive the food from the violet-eyed man. The two had been talking a lot earlier and appeared to have hit it off in some fashion, although Xylo did give him a standoffish look. Kaykrea was far from amused, seeing how all began to disregard what this meeting was about. She simply rolled her eyes and slithered away when Xylo attempted to offer her the bag's contents. In return, he merely shrugged and received a plush confectionary for himself.

The fire in the center of the gathering began fully burning in a bright blend of reds, oranges and yellows. Accenting the woman's appearance and making her look just as bright as the flames. With a faux clearing of her throat, she called to attention all of the present campers for the night's announcements.

“I’m sure some of you all are anticipating the reason as to why we are out so late.” She began, more so wanting to give a reminder to the campers. She continued “First, I do have a few announcements. Starting off, in a few days we will be having the Trial of Ares, which will be a sort of… death match.” This statement brought a few panicked faces and alarmed exclamations to the campers “However, with less… death involved. Close to death, I should say.” Her amendment melted some tension, but the atmosphere still weighed heavy in the group. “It will allow us to see who is at the top, and where others' experiences lie before we get into the real training.” Uncertainty followed the final word of the first announcement, nervous glances were shared between the others.

“Will we get anything?” Was a quick question from Xylo.

“Excuse me?” Came the indigent reply from the camp counselor.

“If one of us wins the trial. Do we get anything?” He clarified.

“That will be discussed at a later time” Was the firm response from the brunette woman.

“Now then. Secondly, as you all know, there is a special guest for you all tonight. They would like to pay a visit to all of you.” Suddenly the meeting area was filled with gasps of awe and excited mermers at Kaykrea’s reveal, some nodding that they did, in fact, remember the prior mention. “There is a message that they would like to give you all, a prophecy.” Her voice suddenly hardened as she followed up with a demand. “I do ask that as a way to show respect to The Oracle, you must stay completely silent, and to not have… snacks, while they are here…” This prompted Xylo to quickly hide the bag of marshmallows and for everyone else to swiftly finish their part of the treat. “Are we clear?” The serpent finished, allowing for any present questions.

Xylo ended up asking another query, the primary one on everyone’s minds. “What if we have questions about what they say?” Soon pipings of agreements followed and Kaykrea was quick to respond.

“There will be no questions for The Oracle at this time.” she asserted. “Although, perhaps in the future, but not today. Am I clear?” She took a pause so the campers could give their affirmation, albeit tentatively. “Alright. Introducing… The Oracle.” The winged woman slithered back as the flames of the bonfire began to grow unnaturally, responding to the approaching powerful presence. The once gentle breeze started to pick up and blow back locks of hair. Even the moon appeared to shine brighter as a soft flapping of wings could be heard just over the cracking and popping of the fire. A small shadow formed in the glowing space above the flames, and as it came closer to the light, The Oracle was revealed.

They were small, looking no bigger than the length of an arm vertically and horizontally if the wings and tail were fully stretched out. Right, they had a tail, covered in small iridescent scales that transitioned from black to a deep blue to a bright green, speckled throughout were small white spots, it’s unclear if those were the scales shining or just part of the pattern. Underneath was a black belly with long smooth scales that came up to the main ‘head’. The bat-like wings shared similar traits to the tail, with the black, blue, green with white speckles, pattern. Their head could hardly be considered a ‘head’, since it was just a single large eyeball. The unnerving sight was only enhanced by the odd shaped iris and pupil, which had the shapes of diamonds. The iris itself shared the previous color pattern of the tail and wings. The eyelashes themselves didn’t help either, being large and thick. The top half was long and had two protruding chunks on either side that enhanced the bat-like look. The bottom came to multiple sharp points. Large openings where the eyelids met showed the connective corners. It all was so disproportionate and unnatural, yet here they were, right in front of the small crowd.

A voice, as soft and smooth as the nearby ocean waves, whispered through the open air. Despite not having a mouth, The Oracle spoke as though projecting their message straight into the minds of the camp's inhabitants. “Ah, and so arrive the children of the gods…” Like a knife through butter, the voice cut through the silence, demanding the attention of all those present. The single eye glanced with a piercing gaze over the group, barely stopping on anyone specific. But still, The Oracle already was seeing the future of the campers. “How interesting… hmh… very interesting.” The eye began to glow in rings, looking like the flaring of the sun when looked at through a window or from a recording. The fire began to build, and the smoke rose in large plumes as the small bat-serpent form took to hovering over the pit. Finally, they spoke of what they were seeing. “Darkness looms over the future for one of you, and with it will come terror and destruction. Greatness follows another, a coming day where you will become a great hero. But, not without great loss of those who you love and believe to be close friends. And one of you will assist to break open the earth, and free The Titans from Tartarus. The Future is filled with bloodshed.”

With the final declaration from The Oracle, the fire suddenly is extinguished, leaving all to be shrouded in the darkness of night. The Prophecy held very few good omens it seemed. An unnerving silence filled the air as the small eyeball-bat disappeared into the star-filled sky, swiftly blending in and vanishing from the scene. Soon hushed whispers filled the area as uncertainty and fright began to grow. Kaykrea was quick to initiate the ending statements for the night and sent the campers back to their designated cabins to rest. Although, it would best be assumed that not many got much rest, whether if it was discussing the words of the Oracle, concerns on the upcoming trial, finishing unpacking, or ponderings on how the summer may be more interesting than at first predicted.

Kay stood at the shoreline straddling the camp, nearby was The Oracle’s abode, where the small creature was resting. She didn’t want the others to see, but the prophecy frightened her. She knew that the lives of gods and demi-gods could get dangerous, but… bloodshed… terror… The Titans. What would this mean? Was everyone here doomed right as they crossed the threshold? Perhaps even before they arrived? Not only that, but nothing said that The Oracle was safe either. It appears that maybe She has bitten more than she could chew. But she would do anything for the camp, anything for The Oracle.

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Please watch the original Origins of Olympus series, while this story does make major changes; the series made by the Origins MCRP crew is important to understanding the Reimagining, and it's good to support the original material if you can. It's free on YouTube with multiple perspectives. If you see any way that I can improve my writing, or any grammar/spelling mistakes please let me know!

#origins of olympus #origins of olympus reimagined #origins mcrp #fanfic #fanfiction #ooo #ooo ri #illustration #art #digital art #The Greek gods are not all related in this #I feel that’s important to say

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alakeeffectgirl · 1 year

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do we need a cruisequarries primer? yes

Welcome to the old men and their wife fandom, these are the old men (pictured here on the press tour for Mission: Impossible - Dead Reckoning, Part One [a title I never want to type out fully again])

Yes, that's Tom Cruise. The guy in the John Hammond Jurassic Park cosplay is Chris McQuarrie, aka McQ, who directed MI:DR and also directed the previous two MI movies and Jack Reacher. You might also know Chris McQuarrie as the guy who won an Oscar for writing The Usual Suspects and got nominated for another two Oscars writing/producing Top Gun: Maverick.

McQ willed their friendship into being in 2006, when he was about to quit Hollywood because he was sick of it (McQ's grand dream has been to make a big bisexual Alexander the Great movie but Oliver Stone beat him to it, and after his first directorial endeavor was basically a flop, no one wanted to give him the money to make a huge epic - but you can't blame him for thinking it could work like that, because he watched Bryan Singer make The Usual Suspects and then get handed X-Men), but while out to lunch one day he overheard someone talking about how Tom's career was over because of all his recent shenanigans, and he thought, "I need to meet this guy, because he also sounds like Hollywood's shitting on him at the moment". So he got a couple meetings that got him through to Tom - and for their first meeting he drove over to Tom's house in his bachelor convertible. (No lie. Easily source-able.)

So they hit it off - in the way where they talked about movies for several hours and Tom invited him back again the next day to talk about movies some more. In this same timeline, McQ was shopping the Valkyrie script to United Artists, and when Tom expressed interest, the first thought was that Tom might produce. But then he was like, no, I actually want to play the lead. (Bryan Singer was attached to direct, and I know Bryan Singer sucks, but the backstory here is that McQ and Singer went to high school together, along with Ethan Hawke.) So everyone went to Germany to make the movie in the summer of 2007 - Tom and his family, and McQuarrie and his family.

This is Chris and Heather in 2000 at the premiere of The Way of the Gun, so before they met Tom. I include because they're adorable and also because the glow-up is fantastic. (The story of how they got together is like Jeopardy trivia and I would tell you to google Stephen Chbosky and McQ together to find it except what the fuck, it no longer comes up quickly: anyway, they did a Sundance Labs together and Chbosky gave McQ the Perks of Being a Wallflower manuscript and McQ got to the "we accept the love we think we deserve" line and thought about the woman he'd met a few times before [when they'd flirt at parties? apparently?] but thought was out of his league - Heather - and decided to go for it.)

I should mention that McQ was going to take the producing credit on Valkyrie just in name, for sort of bringing the project together, but then Paula Wagner was like, "I can't go to Germany with Tom, and he needs A Guy on scene, and I think you could be That Guy," so Chris said yes to being an actual producer - and ended up basically being the go-between guy between Tom and Singer on set.

Here's Tom & the McQs at the Valkyrie premiere in Rome:

After spending months together in Germany, the McQuarries end up becoming fast friends with the Cruises. Heather runs around NYC/LA with Katie a lot and works on Holmes & Yang, the fashion line. Here they are looking cute together:

(They're all good enough friends that the McQuarries go to Tom's surprise birthday bash in July of 2011.)

In the interests of saving just a SMALL amount of time here, I will speedrun: McQ gets brought in (by Tom) to help fix Mission: Impossible - Ghost Protocol, and learns a bunch of stuff about how he doesn't ever want to direct a MI movie. (Lies.) He turns in the Jack Reacher script, which originally wasn't intended for Tom to be in, but when Tom wants to be in your movie, you don't really say no. Reacher films in Pennsylvania in the fall/winter of 2011, and then Tom has to go to promo for MI:GP before he starts work on Oblivion. It's now summer of 2012, and the divorce happens. Tom basically moves to London - and the McQuarries move to London - to work on Edge of Tomorrow. Tom takes Chris with him to Croatia.

Lake, you might be thinking. Is McQ now just Tom's emotional support man? Yeah, probably. They get papped going out to dinner together a lot that fall. A gossip website refers to Tom and Heather walking out of a restaurant together as Tom's "cougar date", which will be funny forever.

Tom got Heather in the divorce, clearly. MOVING ON, McQ does splinter unit work on Edge of Tomorrow and then Tom's like, hey you should direct the next Mission movie, and McQ laughs like Tom is kidding but Tom is not. Tom has gone into the other room to call Brad Grey at Paramount and tell him McQ should be the director on Rogue. (This is how McQ ends up doing all this stuff - he's like, "haha, Tom, you kid" but Tom's not kidding and then suddenly people are strapped to the outsides of airplanes and shit.) In the midst of EoT filming, it's time for Reacher promo, so Tom and the McQuarrries fly all around the world together yet again. And holy shit, am I only up to 2013? Still ten years to cover. (I have about 500 more pictures than I am including here, in case anyone wondered.) More ffwd: They make Rogue Nation. Here's everyone - including Heather - in the Vienna subway:

And here's the three of them at an art gallery in London towards the end of the filming period:

The experience of making Rogue is such that McQ attempts to swear he won't do it again. LIES. Tom goes off to make American Made, Jack Reacher: Never Go Back, and The Mummy all in the space of about two years. McQ officially works on two of those, and from the way they talk about American Made, I wouldn't be surprised if he did some script work there, too.

In August of 2016, pre-production on Fallout pauses because Tom is in a pay dispute with the studio, and McQ decides maybe he doesn't want to do the movie and moves his family back to Los Angeles. SURPRISE, Tom calls him up a week or so later and asks him to come to London to talk about it. Guess what, he ends up doing the movie. (For that full story, which is great and includes Tom saying he loves Heather, please find Jeff Goldsmith's Q&A podcast for Fallout.)

Work on Fallout takes up basically the next two years. At the Tokyo premiere, Tom makes Heather cry when he says she takes care of McQ, and takes care of him, too. (Let me know if you want the video.)

Trying to speedrun this is NOT working, and I need to go stare at the ceiling for a while to process today's Sydney premiere kiss happenings. Part two coming eventually?!!? PART TWO PART THREE

#cruisequarries

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justforbooks · 7 months

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Iris Apfel was finally recognised as a great, original fashion stylist in her 80s, when the Costume Institute at the Metropolitan Museum in New York had a sudden gap in its 2005 exhibition schedule. Many curators knew Apfel, who has died aged 102, as a collector stashing away clothes, especially costume jewellery, both couture-high and street-market-low, so the institute asked to borrow some of her thousands of pieces.

When Apfel wore them herself, dozens at a time in ensembles collaged fresh daily, they had zingy pzazz, so she was invited to set up the displays. There was no publicity budget, and her name was modestly known only in the interior decor trade, yet the show, Rara Avis: Selections from the Iris Apfel Collection, became a huge success after visitors promoted it online. It toured other American museums, changing exhibits en route because Apfel wanted her stuff back so she could wear it.

Apfel’s grandfather had been a master tailor in Russia; her father, Samuel Barrel, supplied mirrors to smart decorators; her chic mother, Sadye (nee Asofsky), had a fashion shop. They lived out in rural Astoria, in the Queens borough of New York, where Iris was born.

As a child, her treat was a weekly subway trip to Manhattan to explore its shops, her favourites the junk emporia of Greenwich Village. She was short, plain and, until her teen years, plump, but she had style; and the owner of a Brooklyn department store picked her out of a crowd to tell her so. During the Depression all her family could sew, drape, glue, paint and otherwise create the look of a room, or a person, on a budget of cents – the best of educations.

She studied art history at New York University, then qualified to teach and did so briefly in Wisconsin before fleeing back to New York to work on Women’s Wear Daily. Furniture and fabrics were in short supply during and after the second world war, and Iris began to earn by sourcing antiques and textiles; if she could not find it, she could make or fake it cheaply.

In 1948 she married Carl Apfel, and they became a decorating team: he had the head for business and she the eye. Unable to find cloth appropriate to a period decor, Iris adapted a design from an old piece and had it woven in a friend’s family mill; she and Carl then set up Old World Weavers in 1952, commissioning traditional makers around the globe.

Photographs and home-movie footage from the next four decades showed Apfel, adorned with elan, haggling for one-off items in souks, flea markets and bric-a-brac shops. She is the most decorative sight in each shot, her ensembles put together with complex cadenzas atop an underlying, tailored, structure– they are like jazz – not a statement, but a conversation.

Apfel was the last of those 20th-century fashion exotics who presented themselves as installations. Although she wore a priest’s warm tunic to the White House (President Richard Nixon underheated the place), plus armfuls of cheap African bracelets and thigh-high boots, she was not an exhibitionist like the Marchesa Casati, and, with her vaudevillian comic timing, was far funnier than the imperious Vogue editor Diana Vreeland.

Also, she never ever bought full-price: her many rails and under-the-bed suitcases of couture were sale-price samples, chosen for their cut, fabric, skilled craftwork and colour dazzle (“Colour can raise the dead”). She might wear them over thrift shop pyjamas, or under a Peking Opera costume, with hawsers of necklaces atop. Money could not buy personal style, she said, prettiness withered, beauty could corrode the soul. All that really mattered was “attitude, attitude, attitude”.

Old World Weavers discreetly refurbished the White House under nine presidents, as well as grand hotels and private houses, before the Apfels sold the company in 1992. They retired to a quiet life in their apartment on Park Avenue, New York, its decor an extension of Apfel’s outfits (bad garment choices were cut up for cushions), and in a Palm Beach holiday home where the Christmas decoration collection stayed up all year round, along with cuddly toys and museum-class folk art. Clothes shopping, and the improvisation of an outfit, became Apfel’s daily ritual, as cooking might be to a gourmet.

But after the Met show, and a book, Rare Bird of Fashion (2007), Apfel was back in as much full-time employment as she could manage in her 80s and 90s (she had a hip replacement because she fell after stepping on an Oscar de la Renta gown). She was cover girl of Dazed and Confused, among many other publications, window display artist at Bergdorf Goodman, designer and design consultant – superb on eye-glasses; she wore large, owl-like, frames to stylise her aged face into a witty, unchanging, cartoon.

She took seriously her responsibilities to fashion students on her course at the University of Texas, teaching them about imagination, craft and tangible pleasures in a world of images.

Her career lasted – nothing was ever too late: in 2018, Iris Apfel: Accidental Icon, a book of memoir and sound style advice; in 2019, a contract with the model agency IMG; and last year, a beauty campaign for makeup with Ciaté London. The documentarian Albert Maysles trailed her for Iris (2014), filming this “geriatric starlet” – her term – as she dealt drolly with new high-fashion friends, or laughed at an “Iris” Halloween costume (glasses, a ton of bangles).

She watched as a storage loft of her antique treasures was listed in lots for sale, and as white-gloved assistants from museums that had begged a bequest boxed up her garments; she still had, and wore, the shoes from her wedding. All things, she said, were only on loan in this world, even to collectors. The point was to enjoy them to the full before bidding them good-bye.

Carl died in 2015.

🔔 Iris Barrel Apfel, decorator and fashion stylist, born 29 August 1921; died 1 March 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #iris apfel #in memoriam

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nordleuchten · 8 months

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Ah, Tumblr. Why would they hide my question from you🥲? Here is the rather long question that I wanted to ask.

I've been wondering about Lafayette's interactions with his in-laws—not the Noailles, but his children's. What did he think about his sons-in-law? Did they get along? How did the marriages take place, or anything related to them?

I'm currently in the very long process of writing a novel about Adrienne, now entering the French Revolution, still having a long way to go before any of the Lafayette kids get married. But my God, the French Revolution is stressful as hell to write☹️. I just want my girl to get some rest… And so, I guess I just want to skip ahead to the lighthearted part. While Adrienne’s thoughts and interactions are pretty much all in Virginie’s book, and maybe some in her sister’s memoirs, Mister Lafayette’s is a bit confusing for me because he has so much information from all different sources. (Which brings me to my next question: What book do you recommend for referencing information about Gilbert? It’s too stressful to always go from one source to another for him.😭)

The information on this blog has been immensely helpful! I would have been lost as to where to find the sources that I needed. hope you have a good day, and hold on to your historical passion! 👍☺️

Dear @daydream-247,

first of all, that sounds like a very interesting project! When you come around to publishing something, I would absolutely love to read it! And thank you for your kind word, it is always nice to hear that other people can take something away from what I post and are not annoyed by me. :-)

As to the partners of his children, La Fayette had a very good relationship with all of them. I am actually quite happy that you asked about that part of the family, since this topic is quite dear to my heart. I think there is not enough talk about that – as it is with so many things in La Fayette’s life that have nothing to do with Revolutions and America. The La Fayette’s and their family and friends were so tight nit, so intimate and loving. La Fayette – and also Adrienne, while she was still alive, loved being grand-parents and in La Fayette’s case later great-grandparents. While their children were able to go their own ways in live, they and their families always remained very close to their parents. The children’s marriages were happy ones – not without personal tragedy of course, but they all weathered the challenges thrown at them. To the best of my knowledge, there were no affairs, mistresses, and betrayals in that generation.

But enough of me being fascinated by family dynamics, lets us get to your question! La Fayette wrote on December 1, 1802 to James Madison:

I Live in an Agreable place, About forty Miles from paris. My Children are With me. Georges Has Married the daughter of Tracy whom Mr. Jefferson Has known in the Constituent Assembly and Who is One of His Warmest Admirers. My Elder daughter is the Wife of Charles La tour Maubourg the Youngest Brother of My Olmutz Companion and Has two Lovely Little Girls. My daughter in Law is Within a few Months to Encrease Our family. Georges is Now at turin Where the 11th Rgt of Huzzards Has its Quarters. Virginia, My Younger daughter, will, I think, Be Married Before Long.

“To James Madison from Lafayette, 1 December 1802,” Founders Online, National Archives, https://founders.archives.gov/documents/Madison/02-04-02-0176. [Original source: The Papers of James Madison, Secretary of State Series, vol. 4, 8 October 1802 – 15 May 1803, ed. Mary A. Hackett, J. C. A. Stagg, Jeanne Kerr Cross, Susan Holbrook Perdue, and Ellen J. Barber. Charlottesville: University Press of Virginia, 1998, pp. 166–170.] (01/25/2024)

La Fayette was right concerning Virginie. She married on April 20, 1803. She would probably have married sooner, but La Fayette slipped on the icy pavement that winter and broke his femur close to the hip bone – an injury that is no laughing matter, neither in the 21st nor in the early 19th century. The wedding was postponed, giving La Fayette time to recover.

Let us now have a closer look at the marriages and resulting families of each of Adrienne’s and La Fayette’s children. Anastasie, their oldest surviving child, was the first one to marry. She married Juste-Charles de Faÿ de la Tour-Maubourg. Charles was the younger brother of Marie-Charles-César de Faÿ, comte de la Tour-Maubourg. César was one of La Fayette’s dearest friends. Do you remember this heartbreaking letter La Fayette wrote after Adrienne’s death? That letter was addressed to César, and I have never again seen La Fayette lay his soul and emotions so open – not even in front of Washington.

Charles was for a very, very short time imprisoned as well but quickly freed. After all the prisoners of Olmütz were set free, they settled at Wittmold and were reunited with their respected families. It was there that Anastasie met – or at least fell in love with, Charles. They were married on Mai 8, 1798 in the private chapel in Wittmold by the Abbé Luchet (and oh this blasted certificate of marriage! One day, one day …) They soon started their own family, and it was here that tragedy struck. While both of their twin daughters survived the birth, one died only a few weeks later. Sadly, the little girl is often forgotten and not at all mentioned when La Fayette’s grandchildren are discussed. I will not say much about the grandchildren here in general because firstly, this post would get even longer than it already is (I am so sorry!) and secondly, I have a post in the making going through all of the grandchildren and possible some great-grandchildren – including the ones that died young or were stillborn/miscarried. I feel they should not be left out. Anastasie lost at least two, if not more children and Georges lost at least one daughter. So, different topic for a different post if you do not mind.

What is interesting about Anastasie’s marriage – especially her Noailles relatives appeared to be less than enthusiastic about the match. Anastasie’s aunt, the Marquise de Montague wrote in her own memoirs:

Frau von La Fayette fand die Parthie nicht allein sehr angemessen, sondern auch wie man damals das Recht hatte zu hoffen, sehr vortheilhaft. Der General war von ganzem Herzen damit einverstanden. In Witmold aber schrie man laut dagegen, wie nur das Projekt zur Sprache kam. Herr von Mun behauptete nur bei den Wilden Amerika‘s könne man sich so verheirathen, und Frau von Tessé bestand darauf, man hätte seit Adam und Eva nichts Gleiches gesehen. Die Sarkasmen nüßten Nichts, Frau von La Fayette hielt sich fest, und als Alles unwiderruflich entschieden war, sah man, wie sich die Unzufriedenheit der Frau von Tessé in eine zärtliche und liebenswürdige Sorgsamkeit auflöste.

Marquise of Montague, Anna Pauline Dominika von Noailles, Marquise von Montague – Ein Lebensbild, Münster, Aschendorff, 1871, p. 204.

My translation:

Madame de La Fayette not only thought the match very appropriate, but also, as one had the right to hope at the time, very advantageous. The General was wholeheartedly in favour of it. In Witmold, however, they protested loudly against it as soon as the project was brought up. Mr von Mun [I have no idea who he was] claimed that only among the savages of America one could marry in this way, and Madame de Tessé insisted that nothing like it had been seen since Adam and Eve. The sarcasm was of no avail, Madame La Fayette held her ground, and when everything was irrevocably decided, Mademe de Tessé’s dissatisfaction dissolved into a tender and amiable diligence.

As you see, Adrienne’s and La Fayette’s primary concern was the happiness of their daughter. La Fayette wrote on May 20, 1798 to George Washington:

We Have spent the winter in Holstein, on danish territory, in a Hired Country Seat about Sixty English miles from Hamburgh—My friend Latour Maubourg and His family were with us—we had visits from france and other Countries—(…). Here My eldest daughter Anastasie was Married to Charles Maubourg my friends’ Youngest Brother.

“To George Washington from Lafayette, 20 May 1798,” Founders Online, National Archives, https://founders.archives.gov/documents/Washington/06-02-02-0213. [Original source: The Papers of George Washington, Retirement Series, vol. 2, 2 January 1798 – 15 September 1798, ed. W. W. Abbot. Charlottesville: University Press of Virginia, 1998, pp. 282–285.] (01/25/2024)

I am honestly not quite sure what the problem here was. Since the Noailles part of the family voiced their criticism, the problem seems to lay primarily with Charles. The critics very much still belonged to the “arranged-marriage-for the advancement-of-the-family” generation and I suppose that was the issue. The marriage was not arranged and both the La Fayette’s and the La Tour-Maubourg’s were “ruined” during the French Revolution. There was not much for both parties to expect – beside a happy marriage based on mutual love and affection.

La Fayette at once started to include his new son-in-law in his letter:

My wife, my daughters, my Son in law Beg the tender Homage of their Affection, Gratitude and Respect to Be presented to you, my dear General, and to Mrs Washington (…)

The next one to marry was Georges. He married Françoise Émilie Destutt de Tracy. Just like with his older sister’s husband, there was already a connection between La Fayette and his new in-laws. Émilie’s father, Antoine Louis Claude Destutt de Tracy, was one of La Fayette’s oldest friends. They became friends prior to the French Revolution and both later served in the Chambre des Deputes and had similar political views, they both opposed Napoléon’s rise to power.

Based on his writings alone, Émilie might have been La Fayette’s favourite. He wrote to Thomas Jefferson on January 20, 1802:

My Son Has Returned to His Regiment in Italy—I Expect Him in the Spring, and probably to Marry a Very Amiable daughter to the Senator tracy Whom You Have known as a patriot Member of the Constituent Assembly

“To Thomas Jefferson from Lafayette, 30 January 1802,” Founders Online, National Archives, https://founders.archives.gov/documents/Jefferson/01-36-02-0305. [Original source: The Papers of Thomas Jefferson, vol. 36, 1 December 1801–3 March 1802, ed. Barbara B. Oberg. Princeton: Princeton University Press, 2009, pp. 480–481.] (01/25/2024)

He reported on November 1, 1802, again to Thomas Jefferson:

With me they Now Are Retired into the State of Rural Life Where I am fixed Among the Comforts of An United Loving family—it Has Been, Encreased, as I Did in time inform You, By the Happy Acquisition of an Amiable Daughter in Law (…)

“To Thomas Jefferson from Lafayette, 1 November 1802,” Founders Online, National Archives, https://founders.archives.gov/documents/Jefferson/01-38-02-0551. [Original source: The Papers of Thomas Jefferson, vol. 38, 1 July–12 November 1802, ed. Barbara B. Oberg. Princeton: Princeton University Press, 2011, pp. 616–617.] (01/25/2024)

He wrote on August 18, 1800 to his friend Masclet:

My whole family is now collected at this place, where my aunt had been for many years despairing ever to see us. It has been also for me a great satisfaction to present to her my beloved daughter-in-law Emilie Tracy, now the wife of the happy George, and in whom I find every amiable quality my heart could wish for. I intend conducting the young couple back to Auteuil towards the middle of Fructidor, my return there being hastened by the news of the intended journey wherein General Fitzpatrick and Charles Fox are to meet at Paris.

Jules Germain Cloquet, Recollections of the Private Life of General Lafayette, Baldwin and Cradock, London, 1835, p. 110.

Here is what La Fayette wrote about Émilie to Thomas Jefferson on February 21, 1825, right after the death of her mother:

We intend to Come again from Boston to Newyork, Philadelphia, Washington and to pay you a Visit at Monticello Before we Embark By the Middle of August for france Where We Are Recalled, Sooner than We Expected, By the most lamentable death of mde de tracy george’s Mother in law. I Have urged My Son to Return immediately But His generous wife, who is a tender daughter to me, Had on the first moment of the loss, adjured Him not to leave me, and it is a Great Motive for Me to Make as much Haste As We Can With propriety do it.

“To Thomas Jefferson from Marie-Joseph-Paul-Yves-Roch-Gilbert du Motier, marquis de Lafayette, 21 February 1825,” Founders Online, National Archives, https://founders.archives.gov/documents/Jefferson/98-01-02-4986. [This is an Early Access document from The Papers of Thomas Jefferson: Retirement Series. It is not an authoritative final version.] (01/25/2024)

La Fayette wrote much about Émilie and all that he wrote was very positive. What he wrote about his sons-in-law was different – not to say that there was less affection, but it was, at least on paper, expressed differently. Now, why was that? It could be for personal reasons, La Fayette simply “clicked” better with Émilie. It could be because Émilie spend much more time with and around La Fayette than his sons-in-law did. It could be because, by social convention, you would and could write differently about your daughter-in-law then about your sons-in-law. Lastly, and that is just a hunch of mine, Émilie, as a woman, was the one to bear the children. For La Fayette children were definitely in the female domain – not because he necessarily thought that childbirth should be a women’s only purpose but because I think he understood and valued that the birth of a child was the result of a great deal of pain and work on the women’s side and a, while biological important, negatable part on the man’s part. In short, I like to imagine that the thanked and valued Émilie for her hard work in making him a grandfather.

La Fayette addressed and described Émilie as his daughter, he wrote about having “three daughters” (to James Madison, August 28, 1826). While the same sentiment was definitely present in the relationships with his sons-in-law, I think he never put it quite that distinctly to paper. But enough about Émilie, let us move on to the last couple.

As I have already mentioned Virginie married Louis de Lasteyrie du Saillant, Marquis de Lasteyrie on April 20, 1803. I believe that Louis was a nephew of a friend of La Fayette but I would need to check that again. Louis died quite young, aged 46 in 1826 and he was buried on the ground reserved for the La Fayette family on the Picpus Cemetery. He was buried there after Adrienne and before La Fayette.

Things were looking pretty good on the domestic front for La Fayette. Within five years, all of his children were happily married and two of them had already little families of their own. What was probably most important, despite her failing health, Adrienne saw all three of her surviving children marry.

In letters to his friends, particular to Thomas Jefferson, La Fayette never forgot to give updates not only about himself but also about his children and their families. He often asked for them to be remembered to people just like he wanted to be remembered. He gave also updates on the military careers of his sons-in-law. Louis entered the Light Dragoons in 1804, leaving the army as a Colonel. Charles and George often served in closely related positions. They both realized that being attached to La Fayette would make advancement in the army difficult and so both of them left the army eventually. Neither of them seemed to hold any grudges.

That much in “short”. Now, as to books – the unsatisfactory answer is: It depends? Are you looking for a general overview, an overview about a specific topic, a political analyses, a character analysis, something critical, a personal account, something contemporary or something that was written much later, a collection of anecdotes to flesh out La Fayette’s character? There are sources for all of this, but they all serve different purposes.

I hope I could help you out and give you a starting point for your research. A chapter about the love lives of Anastasie, Georges and Virginie could definitely serve as a little cheer-up chapter between the French Revolution and Adrienne’s death – both for the readers and your characters. Happy writing and I hope you have/had a lovely day!

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th3-0bjectivist · 9 months

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youtube

Dear listener, I promise I’ll be back with more music in 24’. For now, let me share a personal lesson in music to all of those reading this. Sometimes, *the young* can influence your musical tastes. At the very start of 23’ I met a smart young Zoomer named Fen. Fen is my coworker for context. Before I met Fen, I thought Zoomers were completely unintelligible. Sorry Zoomers, it’s true, I judged all of you. But it was only based on the vast majority of interactions I had had with your generation up to that point. This young man was slightly different from his generation in that he could carry on detailed conversations on politics, environment, and music. In our conversations about music, he asked if I had ever heard of slowcore. I hadn’t. He played some slowcore for me in our company van. I enjoyed some of it and asked for a short-list of slowcore bands. Fen enthusiastically provided it. After listening to slowcore off-and-on for most of 23’, I can tell you I like it a lot. It’s all about quiet beginnings and then some sort of GRAND FINISH. And within this subgenre that I didn’t know existed, is a band called Low, and holy shit do they make some great music! This is a group that started off in 1993 and perished in 2022 with the death of their co-founder Mimi Parker. Starting off with some very restrained and quiet melodies to suit the bar crowds they were originally playing for; this standard band beginning was followed by their own personal boom on college radio and proceeded by a second album and a European tour with Radiohead. Suddenly, the band began to take on electronic influences to supplement their tunes and even started to take a stab at some rather thunderous post-rock jams. While the creative approach of slowcore (as a whole) is generally minimalist and relies on slow tempos to find its structure, this group for nearly three decades attempted to elegantly place as many branches on the slowcore tree as humanly possible without burning out in the process. Talented, poetic and creators of some of the saddest material I listened to in 23’, this group’s extensive catalog more than kept me going from track to track in a frenzy. Having emerged from mere nightclubs in Minneapolis, Low’s legacy is one of eventual international success as their music has been featured in commercials and movies. They also happen to bear the distinction of being one of those bands that you’ve invariably heard in passing but could never put a band name to the tune. If you smash play, you will be treated to Dinosaur Act from their 2001 album Things We Lost in the Fire. Enjoy!

Imagine my surprise when I was doing research for this post and realized that both slowcore and Low were from the 90’s... my generation. Sometimes Zoomers have the information that you just don’t, folks! Thanks Fen, consider my know-it-all millennial ass humbled! I will soon be taking a break from Tumblr to recharge my mental battery. Just wanted to stop and thank the THOUSANDS of occipital lobes that have tuned in for a taste of my personal musical library on Tumblr for the past… going on half a decade! Image source: https://www.uncut.co.uk/features/low-interview-duluth-february-2011-35017/

#slowcore #sadcore #low #dinosaur act #music on tumblr #music #audio #audio video #art rock #post rock

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mask131 · 7 months

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Max Ernst's "One Week of Kindness"

Which could also be called "A Week of Benevolence" - the original French being "Une semaine de bonté".

This post is a follow-up to a reblog I made, right here. Please go read this reblog first, because this post continues from all the info I placed there. If you don't go check it out first, you'll be slightly or massively confused.

I wanted to expand a bit on this fascinating piece of art, and to do so I'll use the info the Musée d'Orsay shared and put on their website when they organized an exposition of Une semaine de bonté.

An expo that deserves its own mention due to how exceptional it was. It was a 2008-2009 exposition of the original collages of Max Ernst the booklets were reproductions of. It was a grand world-tour that started in the Albertina palace of Vienna and ended in the Musée d'Orsay of Paris, passing by Brühl, Hamburg and Madrid. Why was it such a big deal? Because this was the second exposition of Ernst' work - the only other exposition of Une semaine de bonté's collages was in 1936, in the Museo de Arte Moderno of Madrid, just before the Spanish Civil War. It had been organized by Paul Eluard, who loved Ernst' work, but five of the illustrations couldn't be part of the exposition - due to being deemed too "indecent" or "blasphemous". And since this date, the works had never seen the light of day anymore, being preserved in private collections... It explains why the second exposition was such a big deal.

A few more sources for this collage-work I forgot to talk about: Beyond the general category of covers and illustrations of investigation stories/crime novels/polar tales, we also know that Ernst used illustrations of Sade's novels, the caricatures of Grandville, and the illustrations of Fantomas.

As with typical surrealist work, Une semaine de bonté offers a work of onirism that transcends the limits and categorizations imposed by society, by science, by our very conception of reality, and rather offers nonsensical visions and extraordinary wonders. It was the third "roman-collage" of Ernst, after "La femme 100 têtes" of 1929 and "Rêve d'une petite fille qui voulut entrer au Carmel" (1930). Throughout the illustrations, we find many references to the Bible, to famed legends, to fairy tales, to Greco-Roman mythology, but mixed with Ernst' recurring and favorite themes. More precisely, his strong rejections and dislikes: his rejection of the Church, his hatred of the bourgeoisie, his dislike of the traditional family, his refusal of patriotism...

Because Une semaine de bonté is actually a denunciation work, a great critique, a satirical caricature of the French society of the 1930s. Ernst superposes, subverts and reverses all sorts of stereotypical and cliches depictions, of either the "good society", or of the evil, the crime, the monster. Now, of course, there is no actual "real" or "good" story for this work. It is open to interpretation and everybody has to and must find their own meaning in it - as with all proper surrealist work... But there is still strong themes that form recurring motifs, and a message Ernst wasn't so subtle about.

The satirical, ironical, cynical, biting nature of the work can be read in the very title, which plays on two levels. One, on a Christian level: "Seven capital elements" is, as I said, a parody of the "seven deadly sins/seven capital sins" ; the motif of a work centered around a week alerts that there will be numerous references to the Biblical genesis, but most importantly "One week of kindness" is a reference to "La semaine de bonté", The Week of Kindness, a 1927 association creating for social help. Tied to this subversion of typical Christan morals, ideas and values, is the second level of irony in the title: this collage-novel is called "One week of kindness"... And yet it depicts all sorts of violences and abuses. Its pages are filled with murders, tortures and natural disasters - and Ernst doesn't hesitate to subtly denounce the sensationalism of a society obsessed with depictions and illustrations of the most horrible and criminal sides of humanity.

It also is no wonder that this work was created during the 1930s. The ghosts of the World Wars are haunting this piece. On one side, Ernst was seeing with an anxious and angry eye the rise of violent nationalist movements and of brutal, discriminatory dictatorships - the very ones that would cause World War II. On the other side, Ernst was of this generation that inherited the trauma and memories of World War I, had to live with the broken and disfigured survivors of the "Great War". Ernst himself had served in the German army during the Great War (if you don't know, while Ernst was born and raised in Germany, he ended up having a triple-nationality, German, American and French). One can almost read in this book Ernst' vitriolic take on a society that distracts itself with materialism, excessive pleasures and sensationalism, in an attempt to bury the wraiths of its past, and to stay blind to the dangers ahead...

It is only by the last day of the week that the atrocities fade away, and that we return to pure oniric poetry, in a set of illustrations focusing on voluptuousness and fantasy, inviting to or glorifying freedom and dreams... Now let's take a look at the structure of the Week in more details.

Day 1: Sunday. Element: Mud. Example: The Lion of Belfort

(The Lion of Belfort is a commemorative statue of the Alsacian town of Belfort in France, in homage to how the city had been assieged by the Prussians during the Franco-Prussian war of 1870)

Another Christian subversion: the week doesn't begin here on a Monday, but on a Sunday. We also see some of the games Ernst has with the Biblical Genesis not just by waking the "last" day of Genesis the first day of the week, but also by associating to Sunday (the day of rest for a God that created everything already) the day of the "mud" (understand, the primordial mud from before the world was created, the "chaos", the "primordial soup" from which the universe had to be sculpted). Not only that, but Sunday, the holiest day of the week for Christians, is filled with brutal deaths, sadistic violence and blasphemous imagery.

More precisely, this booklet/day explores the relationships between men and women, male and females. And... let's just say Ernst has a bad view of it, since all the interactions between male and female characters in this booklet can be summarized by: persecution, seduction, theft, punishment, torture, death. Since the Lion of Belfort is the recurring theme, there is a recurring character throughout the illustrations of a lion-faced man. He is always in a position of power and domination, and it is no surprise: we often see him wear military decorations, political medals or even religious symbols such as the Sacred Heart. As a result, the lion-man clearly embodies all the dominating, oppressive and violent male-dominated organizations of the time: the political world, the military and the Church.

(If you are curious, the Musée d'Orsay offered the original picture on which the one above was based. It was taken from the Mémoire de Monsieur Claude:

Day two: Monday. Element: Water. Example: Water.

Unlike the male-dominated first booklet, this one is filled with female figures, making it the most "feminine" of all the days. There is still a lot of violence in it - but it is not a man-made violence anymore. Rather Ernst presents the violence of nature, the brutality of natural disasters - through water, a water that is seen flooding bedrooms, destroying bridges, or drowning entire streets of Paris.

Day three: Tuesday. Element: Fire. Example: The dragon's courtyard/The court of the dragon.

La Cour du Dragon, The Dragon's Courtyard is actually - or rather was - a famous street of Paris. It doesn't exist anymore, but it was in the 6th arrondissement, between today's Rue du Dragon and Rue de Rennes. This street was called as such because of a famous dragon-sculpture located at the top of one of its entrances - the dragon can still be seen at the Louvres I believe. And it is within illustrations of this "Dragon's courtyard" that the booklet begins.

The dragon is one of the recurring symbols of the booklet, with variations: dragons and snakes of all shapes and size that follow the characters around ; humans with various dragon or snake-like features ; or simply the presence of bat wings reminding of demons, sometimes counterbalanced by angelic characters with bird wings. Here, the caricature, in terms of setting and characters, clearly is of the bourgeoisie. Not only is Ernst making the world of the bourgeoisie "Hellish" by filling it with snakes, dragons, demons and flames, but he also seems to use the symbolism of the fire as a way to denote the cliche of the "passion bourgeoisie", the violence of passions, emotions and desires within the bourgeois world, leading to tragedies. (Opposing the "natural forces" of the water, here fire seems to be the human forces) It is no wonder that this booklet has a great emphasis on walls and doors, often decorated by surrealist symbols: they are here to evoke a cloistered, walled-up, compartimented world where walls and doors hide and try to restrain things such as fears, desires or dreams...

Day four: Wednesday. Element: Blood. Example: Oedipus.

This booklet is entirely driven by the myth of Oedipus (that we know to have been one of the surrealists' favorite Greek myth). All the illustrations have one element or another of the legend, and keep retelling specific episodes of Oedipus' adventures. Oedipus killing his own father, the riddle of the Sphinx, or baby-Oedipus being abandoned at birth... Oedipus himself is symbolized in the collages as a bird-headed man.

One of the most famous collages of this booklet is the one that retranscribes the part of the legend that gave Oedipus his name, "swollen feet" or "swollen ankles", due to receiving a wound there as a baby. In Ernst's work, the bird-headed man (Oedipus) rather stabs in the foot a woman:

Day five: Thursday. Element: Black. Example: The laughter of the rooster ; followed by "Easter Island".

This is where we reach the last three days placed in one same booklet. It is also only in this last booklet that Ernst placed text, in the form of quotes or poems from other authors. This day has three quotes. In the "Laughter of the Rooster" segment, two. One from Marcel Shwob's L'Anarchie: "Those of them that are joyful sometimes rise their behind up to the sky and thow their feces at the face of other men ; than they lightly hit their bellies." Another from Schwob's Le Rire: "Laughter is probably fated to disappear." The third quote comes from the Easter Island segment, and is from Arp: "Stones are filled with entrails. Bravo. Bravo."

Here the symbols seem to again represent men or organizations of power. On one side, you have the recurring rooster - which is of course the symbol of France, and thus can be seen as a representation of the French government or French state. On the other side you have cruel and brutal men with the head or faces of the Easter Island statues, reflecting them not just being humans made of stone - but being literal "stones idols" (in the religious sense of the term, the sin of idolatry, again a Christian subversion).

Day 6: Friday. Element: Sight. Example: The inside of the sight / The interior of the view.

Again, three quotes here. One from Professors O. Decroly and R. Buyse's "Les tests mentaux": "If three is greater than six, make a circle around the cross, and if water extinguishes fire, draw a line from the sceal to the candle, passing above the knife, then make a cross on the ladder." One from Paul Eluard's "Comme deux gouttes d'eau": "And to love I oppose / Already-made images / Instead of images to be made" (The text is much more poetic and punny in the original French). The final quote is from André Breton's "Le revolver aux cheveux blancs": "A man and a woman absolutely white."

Unlike the previous booklets which presented dynamic, violent, active, interactive scenes, here we are in more still, contemplative images. Symbols, visions and settings to be looked at and gazed at, as the title of the section indicates.

Final day: Saturday. Element: Unknown. Example: The key of songs (again, a pun on "The key of fields", a French expression)

Only one quote: "........ / ........ / ........ / ......" from Pétrus Borel's "Was-ist-das".

For this part, the Musée d'Orsay used a quote by André Breton to explain Ernst's intentions: from the Surrealism Manifesto, "Glory to hysteria and its cohort of young, naked women sliding down the roofs. The problem of womankind is, to the world, everything there is of wonderful and troubled/murky." In this final day, we see women, always leaving a bed or bedroom or resting place, and either flying away or entering landscapes where gravity does not work. There is clearly here a work on the "clinal hysteria", and Ernst' own take on the surealists great obsession with hysteria, that they deemed to be disease, yes, but an illness that brought both freedom and inspiration. This idea of being set free is within the section's very title: "Prendre la clé des champs", "To take the key of the fields" is an expression meaning to go away (especially to go away from an oppressing or suffocating, unpleasant situation), to flee, escape, disappear (with the connotation of the fields as a vast, open space of great possibilities and endless horizon).

#max ernst #surrealism #surrealist #art #french things #french history #french art #une semaine de bonté #a week of kindness #one week of kindness #days of the week

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cosmoglass · 8 months

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Fumito Ueda was inspired by… Gustave Doré's illustrations for La Grande Bible de Tours (1866).

I already knew that Shadow of the Colossus featured things from Genesis - the secret garden with its forbidden fruit (Garden of Eden) and Dormin is Nimrod spelled backwards (Nimrod was killed by Shem who scattered his body parts across the land of Shinar as a warning against idolatry). Is Lord Emon based on Shem? Do Wander's actions that cause Dormin to be resurrected amount to a sort of original sin?

@easternmind identified Gustave Doré's Bible illustrations on Fumito Ueda's shelf in this post, so I had a look at them, particularly the first 41 that are for Genesis and Exodus. The engravings show dramatic, awe-inspiring and destructive scenes in epic landscapes, which describes the look of Shadow of the Colossus pretty well. The ones that jumped out at me though were of Moses in the Bulrushes, and they did so for seeming like a story influence for Ico.

The story from Exodus goes that Pharaoh put out an order for all male Hebrew babies to be drowned in the Nile, so Moses' mother placed him in an ark and concealed it in the bulrushes by the riverbank. The baby was discovered and adopted by Pharaoh's daughter, and raised as an Egyptian. Apparently, there's also a similar story in Genesis that involves Nimrod. Nimrod fears the birth of Abraham who will be his downfall so he too orders the killing of all newborn babies. Nimrod and Pharaoh are both archetypal cruel and persecuting kings with stories that seem to be reworking some of the same ideas. In Ico, the Queen is killing horned boys and where Moses was placed in his little boat by his mother and then retrieved from it by Pharaoh's daughter, Ico is placed in his little boat by the Queen's daughter. Is the Queen killing all horned boys because she believes that Wander’s descendants are dangerous to her? Is Ico perhaps a prophesied saviour archetype, similar to Moses and Abraham? Children are also taken in The Last Guardian where they are a source of energy/power.

I had another look at Jacob Geller's video essay called The Decade-Long Quest For Shadow of the Colossus’ Last Secret and spotted a Doré Bible Illustration for Isaiah called 'The Destruction of Leviathan' that's very reminiscent of Hyrdus.

I'm sure that many of my observations were made 15 plus years ago by people like Ascadia whose quest to understand Shadow of the Colossus is at the heart of Jacob Geller's video. If you watch the video, make sure you read the pinned comment below it - Ascadia's cousin shares the sad news that Ascadia died very young in 2018. Well done him for doing such good work analysing Ueda's masterpieces.

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aurevoirmonty · 21 days

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Les [civilisations modernes] donnent le vertige par leur fièvre de mouvement et de conquête de l'espace, génératrice d'un arsenal inépuisable de moyens mécaniques capables de réduire toutes les distances, de raccourcir tout intervalle, de contenir dans une sensation d'ubiquité tout ce qui est épars dans la multitude des lieux. Orgasme d'un désir de possession ; angoisse obscure devant tout ce qui est détaché, isolé, profond ou lointain ; impulsion à l'expansion, à la circulation, à l'association, désir de se retrouver en tous lieux - mais jamais en soi-même. La science et la technique, favorisées par cette impulsion existentielle irrationnelle, la renforcent à leur tour, la nourrissent, l'exaspèrent : échanges, communications, vitesses par delà le mur du son, radio, télévision, standardisation, cosmopolitisme, internationalisme, production illimitée, esprit américain, esprit « moderne ». Rapidement le réseau s'étend, se renforce, se perfectionne. L'espace terrestre n'offre pratiquement plus de mystères. Les voies du sol, de l'eau, de l'éther sont ouvertes. Le regard humain a sondé les cieux les plus éloignés, l'infiniment grand et l'infiniment petit. On ne parle déjà plus d'autres terres, mais d'autres planètes. Sur notre ordre, l'action se produit, foudroyante, où nous voulons. Tumulte confus de mille voix qui se fondent peu à peu dans un rythme uniforme, atonal, impersonnel. Ce sont les derniers effets de ce qu'on a appelé la vocation « faustienne » de l'Occident, laquelle n'échappe pas au mythe révolutionnaire sous ses différents aspects, y compris l'aspect technocratique formulé dans le cadre d'un messianisme dégradé. A l'inverse, les civilisations traditionnelles donnent le vertige par leur stabilité, leur identité, leur fermeté intangible et immuable au milieu du courant du temps et de l'histoire : si bien qu'elles furent capables d'exprimer jusqu'en des formes sensibles et tangibles comme un symbole de l'éternité. Elles furent des files, des éclairs dans le temps ; en elles agirent des forces qui consumaient le temps et l'histoire. De par ce caractère qui leur est propre, il est inexact de dire qu'elles « furent » - on devrait dire, plus justement et plus simplement, qu'elles sont. Si elles semblent reculer et s'évanouir dans les lointains d'un passé qui a même parfois des traits mythiques, cela n'est que l'effet du mirage auquel succombe nécessairement celui qui est transporté par un courant irrésistible l'éloigne toujours plus des lieux de la stabilité spirituelle. Du reste, cette image correspond exactement à l'image de la « double perspective » donnée par un vieil enseignement traditionnel : les « terres immobiles » fuient et se meuvent pour celui qui est entraîné par les eaux, les eaux remuent et fuient pour celui qui est fermement ancré dans les « terres immobiles ». Il faut enfin rappeler quelle fut, dans les civilisations traditionnelles, la conception du temps : non pas une conception linéaire, irréversible, mais une conception cyclique, à périodes. D'un ensemble de coutumes, de rites et d'institutions propres soit aux civilisations supérieures, soit aux traces de celles-ci chez certains peuples dits « primitifs », apparaît l'intention constante de ramener le temps aux origines (d'où le cycle), dans le sens d'une destruction de ce qui, en lui, est simple devenir, de le freiner, de lui faire exprimer ou refléter des structures supra-historiques, sacrées ou métaphysiques, souvent liées au mythe. De la sorte, et non comme « histoire », le temps - tel une « image mobile de l'éternité » - acquit valeur et sens. Retourner aux origines voulait dire se rénover, boire à la source de l'éternelle jeunesse, confirmer la stabilité spirituelle, contre la temporalité. Les grands cycles de la nature suggéraient cette attitude. La « conscience historique » , inséparable de la situation des civilisations « modernes », ne scelle que la fracture, la chute de l'homme dans la temporalité. Mais elle est présentée comme une conquête de l'homme actuel, c'est-à-dire de l'homme crépusculaire.

Julius Evola, L'Arc et la Massue

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pix4japan · 11 months

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1960s Portable Sony TV was a Hit with Showa Emperor and Frank Sinatra!

Location: Edo-Tokyo Open Air Architectural Museum, Koganei, Tokyo Timestamp: 13:28 on October 25, 2023

Pentax K-1 II + DFA 28-105mm F3.5-5.6 45 mm ISO 800 for 1/50 sec. at ƒ/9.0

Sony unveiled its 5-inch portable TV, the Micro-TV (Model #TV5-303), to the world on April 17, 1962, and it hit the U.S. market with a bang on October 4th of the same year. The grand launch took place at Sony’s state-of-the-art New York showroom on Manhattan’s 5th Avenue, with over 400 guests, including the esteemed Consul General of New York.

This incredibly compact micro-television, available in silver and black versions, became an instant sensation. Demand soared to unprecedented levels, leaving Sony struggling to keep pace. Despite shipping sets by sea straight from the assembly line, the company couldn’t meet the eager market's needs.

With rival manufacturers hot on their heels, Sony took a bold step by chartering a Pan American airliner to expedite the TVs to the U.S., capitalizing on the momentum they had generated.

It wasn't only six months later in early 1963 that Hayakawa Electric introduced similar portable televisions to the U.S. market, trailing behind Sony's groundbreaking Micro-TV.

During a factory tour in March 1962, the Showa Emperor and Empress of Japan received an exclusive preview of the Micro-TV. Sony's co-founders, Akio Morita and Masaru Ibuka, went to great lengths, requesting Their Imperial Majesties to maintain strict confidentiality regarding the yet-to-be-announced Micro-TV.

This act of secrecy mirrors the practices of today's tech giants like Google and Apple. However, this request sparked controversy, leading to sensational headlines in Japan's major weeklies, including articles with headlines such as "Emperor is Hushed Up!" These weekly publications (週刊誌), often regarded more as politically provocative tabloids than bastions of high journalistic standards, may have inadvertently amplified the buzz surrounding the Micro-TV.

Adding to the Micro-TV's allure was a surprise admirer – the legendary Frank Sinatra. After being given a sneak peek in April 1962, Sinatra was so captivated by the TV5-303 that he expressed a desire to take one back to the States. Acknowledging the limitations of the Japanese model in picking up U.S. channels, Morita pledged to deliver a U.S. spec model to Sinatra as soon as they were available.

True to his word, Morita personally delivered the television to Sinatra at Paramount Pictures in October, the day after the sets went on sale, fulfilling his promise and cementing the Micro-TV's status as a technological marvel of its time.

My photo of the Sony TV5-303 Mini-TV can be seen on display in the “House of Kunio Maekawa,” which is just one of the many vintage and preserved structures on display at the Edo-Tokyo Open Air Architectural Museum in Tokyo.

The Pix4Japan blog post includes Google Maps links and links to all of the original source material available for further reading: https://www.pix4japan.com/blog/20231025-edo-bldg-museum

#静物写真 #ソニーマイクロテレビ #江戸東京たてもの園 #東京 #pix4japan #pentax_dfa28105 #pentaxk1mkii #still life photography #Japan #Tokyo #Sony Micro-TV #Edo-Tokyo Open Air Architectual Museum

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empirearchives · 2 years

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Impressions of intaglios by Francesco Carnesecchi

After originals by Antonio Canova, Italian

After originals by Bertel Thorvaldsen, Danish

In early-nineteenth-century Rome only Antonio Canova rivaled the sculptor Bertel Thorvaldsen.

This side is devoted to the works of Thorvaldsen, the other to those of Canova. Carnasecchi produced such items for sale to cultivated visitors stopping in Rome as part of the Grand Tour.

Source: The Met

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jonvonbasslake · 1 year

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I'm gonna start watching DBGT for the first time... I hope my sanity survives

Okay, that may be a bit OTT, I admit. But, from what I know of GT it's not that great. Good ideas, poor execution. I'll be watching it in Japanese with subs, just to give it what I feel like is going to be the best chance of impressing me.

For one, it has Dan Dan Kokoro Hikareteku as it's OP instead of some dumb 90s wannabe rap. They could have made a competent rap song for it at least, but no, no they made Welcome to the Grand Tour...

Also, by watching the sub, I'll avoid any potential dubisms that would probably just worsen the experience. And 90s dubs aren't known to be faithful to the original source material anyway.

I'll be live blogging my thoughts as I go along. Well, I say live blogging, but more likely I'll add something after every few episodes with some thoughts during the episodes if something big happens...

I know a bit about the show, but not a whole lot. So I'll try to be as fair as I can, but my hopes aren't that high. I'm expecting it to range from kinda eh to decent for the most part.

And I'm going to be doing this shit sober, since unlike some bad shows, I think this is going to be tolerable without numbing myself with alcohol.

#dragon ball #dragon ball gt #dbgt #first watch #first time watching #super sayajin #super saiyan #super saiyajin 4 #super saiyan 4 #SS4 #SSJ4

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shiteating · 1 year

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i finished the limbus event ages ago but forgot to post my thoughts (still gotta grind in the upcoming weeks) but what a tour de force of an event. i quite liked it. the chickens rolling 11-13 on one coin was pretty annoying so anyone reading this who hasn't started: bring your high rollers. at any rate, i like that it gave limelight to characters that haven't had much so far— it feels as if they combed through the script of the cantos released so far and listed sinners in order of not necessarily who said the least, rather who hasn't really had a chance to show off their personality as much. i do quite understand and feel it— "gives spotlight to characters who needed it" is quite cliché praise that conveys nothing, at the end of the day. but it's true.

spoilers under the cut, for like everything potentially, but especially the event of course. (also may include my grievances with the fandom so if youre not about negativity...well if you follow me here youre probably ok but just a warning out of courtesy)

I LOVED HOW IT GAVE FOCUS TO CERTAIN SINNERS!!!! especially meursault, yi sang and hong lu!! donQ was funny!! gregor was cringefail moe!! more of ryoshu is NEVER a bad thing!! (ryoshu pussy destroyer, apropos of nothing) i think even though sinclair had his introductory canto already with arguably the best sinner to story+dungeon integration and immersion so far, its nice to see him not suffering and just being some guy. i did say "they gave the characters who didn't do much more spotlight" rather than "didn't say much" because in the grand scheme of things, sinclair didn't do that much in canto 1 and 2, and 3 was an interesting facet of him but nonetheless we hunger for these sinners in any situation funny or tragic.

but also because i have a huge issue with "XYZ doesn't talk much" sort of justification for mischaracterization. this concerns mostly yi sang and meursault. now, to preface things, usually i am not the kind of person who likes to heckle people and demand they meet prerequisities before consuming a work (well it depends, for me personally i like going in production order when it comes to games and anime but this is different+if someone came up to me demanding stuff my response would be "no way" out of spite a lot of the time. though i try to respect the work by honoring its othee branches IVE GONE OFF ON A TANGENT SORRY), but yi sang and meursault in particular are about the most straightforward original book to limbus character translations there are probably. i think i mentioned it on main before, but the solution to "i don't know how this character is" is probably to look back on the source material. i suspect it is due to the short length of their respective sources, even yi sang who seems to take after his poetry as well and not just the wings, does not come up to even 50 pages all together probably. (i have not read all his poetry but i've read crow eye's view right after this event because i was further spurned to do so, i read the wings last week) the stranger is about 100 pages. it makes sense, when you have a longer source like for example crime and punishment, you have more room to do more topsy turvy aversions like mixing sonya and rodya's convictions together and switching stuff around ever so slightly... also the genderbending but that's obvious. prosthetics racism aside, they played with sinclair a bit still, but all in all it's following most of demian's beats quite closely, down to demian magically making kromer go away in an act of demian ex machina (though on screen as opposed to off in the book, though the mystique is arguably not lost because the fucker is floating like some kind of ghost or guardian spirit. not saying he is any of this but yknow). P.S. i think if they somehow work eva into limbus i might lose my mind that was such an insane part of the book

however even before this event, in the three cantos we have available, i feel that yi sang and meursault have been adequately characterized. i read the stranger in high school so my memory on it is fuzzy, and as aforementioned i read the wings last week, and they are represented quite faithfully! not to mention meursault wasn't even scarce in canto 3! i understand that they're a little dry as characters, maybe that is seemingly boring to some people but i don't think it is an excuse. there's no REAL need to read the books and that's not my point here at all, but still, i think what we have in the game even pre-event paints a quite clear picture as it is. i'm trying my best not to sound like i'm looking down on anyone, i say this all the time but before limbussy i had only been reading non-fiction books for years because i lost my spark for fiction. i'm happy it revived it. so i'm not gonna come from the angle of "read books or die" cuz that's not me. i'm saying this because i have intense anxiety but i will repeat again that while i speak strongly and perhaps even harshly, i do not think any less of most people. though maybe i cannot hide my annoyance at fandom types much even if i am trying. <-im just a guy

though i will spill the beans on myself and admit that i feel that you miss out on so much when not reading at least some of the books. sure, some of them follow quite closely, but there'a so much fun in comparing and contrasting. seeing the subversions and aversions, and what they chose to keep as is. I LOVE IT!!! i want you guys to know this joy. and i love that my reading block is going away. btw i am reading stuff in canto order. 👍

my comments on donQ in laconic because no one wants to hear it (will oblige if you ask but it is groanworthy so i will use my discretion regardless) (also clarifying again cuz i have anxiety but i do not ever think donQ being silly is bad. she is perfect. i have 0 complaints. it is more about fandom treatment):

and then there was hong lu.

this one's a real stinker. hong lu isn't topping much of my lists but i think he is a charming and nuanced character who is unfortunately probably the most flanderized sinner next to heathcliff and donQ (THE CROWD BOOS AT THE NOTION OF DONQ BEING FLANDERIZED). as with many people, i don't know if a day may come that i will read dream of the red chamber in whole— i may attempt it of course, but the length is undeniably daunting. i don't know much about it, only that hong lu himself is not a character in it, but more like some kind of metaphysical mishmash of different elements in the novel (even his name is derived from the title itself). it is not difficult to surmise that the odds are stacked against him. i don't think this section will be too long, but i feel that not only is the nuance in his character in limbus easily disregarded, but it is being superceded entirely by this phantom of what the fandom has thrust onto him. i am not anti-fun, nor am i "you're enjoying it wrong grrr" (this is a lie i kind of am sometimes but i am self aware of it)

but even just judging from the material in limbus alone i do not see where people got the "hong lu is a frivolous shallow whore" thing outside of idk, him being a handsome somewhat kind of sort of gender non-conforming male character and acting (strong emphasis on acting) a little ditzy and being showy. he's quite sheltered, i do not deny that he says ignorant things because of his upbringing, but the event did lay it on thick in one scene that he also enjoys messing with people a bit. but i think it will still be taken super literally regardless. he is a character with hidden depths, so far not much of it is revealed, but he shows moments of great emotional intelligence at times (like in canto 3 when he told a different sort of half truth to saude about effie being "fine"... i mean it's uh. not a lie) and the guy can definitely read the room if he so chooses to do so. the moment in the event where he got a little cagey and perhaps even introspective when faust used him as an example to explain distortion was another moment of depth uncovered: i think it will be a slow process overall. which is great. there are some characters that we will continue to learn more and more about incrementally throughout the run of the game (however long that will be, but i will be there no matter what) rather than getting a seemingly complete baseline right away. (because really, everyone has hidden depths still, it's just that sinners in the position not unlike hong lu's just have MORE hidden i suspect donQ is the same— /shot

but yeah. i had a lot to think about because of the event. but i love the direction it went with showing the sinners' individuality off and who they chose to show more of. i could not be happier with it. i feel like very few mobage are able to do this balancing act of fleshing out characters outside of story. i think fgo also does it well (CROWD STARTS THROWING ROCKS AT ME)

P.S. i do not assert that my interpretation of the characters is 100% correct and infallible EVER— everyone sees things differently. however what is objectively incorrect is stuff that just ignores canon outright and on a consistent basis. at that point idk if we are reading the same text.

#m #postmortem #kinda

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