#also yeah back in the Merlin Times birds were symbols of evil. well i mean all animals were

[ranticore]

someone asked me ages ago for more anatomical drawings of harpies so i deliver. the feathers are laid out in tracts and can hide a lot of detail under the contours, and the fact that the body is usually smaller than people think (and much lighter). The neck usually blends in pretty well with the body, unless the feathers are raised or the crop is full.

they do not have hands whatsoever, all manipulation of objects is done by the feet and mouth. even with their lack of hands they do not at all suffer a lack of dexterity. in the kosa region the eagle harpy flock is famous primarily for its weaving culture - weaving is so integral to their society, in fact, that they view the world itself as nothing more than a large and complex tapestry, woven by some unknown artist. this is evident in how they orient themselves in the air, referring to a tailwind as 'warp', while a crosswind is 'weft'.

these aren't like actual muscle groups or anything it's more of a drawing guide to show which areas have mass & define the form

the thing that gets me a lot about drawing birds & birdlike guys is how high up the leg can articulate, in real birds it's like pretty much in their armpit. harpies have a more humanlike torso which means more space between the rib cage and the hips, and more articulation of the spine in this area as well (though i realise now that i didn't actually draw that in any of those poses). it also means they have a more defined belly area below the pectorals/ribcage.

a king is pictured here but there's no real difference under the feathers between a king and a regular harpy, aside from kings being generally more robust and more heavily built (by harpy standards).

harpies are the descendants of humans who were cursed to be birds thousands of years ago. those humans, who aided the apocalypse, were primarily messengers and chanters, assistants of the wizards who ended the world. their relatively unmonstrous cursed form reflects their general lack of importance to the crime - petty criminals, accessories, not perpetrators. their behaviour is strongly informed by the birds they were blended with to the point where there is very little about them that's even remotely human and their cultures and societies are almost wholly birdlike.

[pilferingapples]

Episode 5a: Green Finch and Cosette Bird

Not gonna try to Chronology this bc despite my best efforts I have NO idea what time span this is all supposed to be covering, like if it’s weeks or months or, as it appears to be, all happening in one Really Busy Week 

Before I get into it: As always , major props for the Props people, and the set design team on this show. Whatever my other issues about the series, I’ve loved the look of the places, and there’s some real nice touches in every scene. They make rewatching it all worth it just for the visuals. 

...More mixed feelings under the cut, but I did enjoy some things besides the setting!:

HELLO HELLFONT MY OLD FRIEND , what can I say,  it’s becoming a familiar (type)face , any friend in a storm

-I really enjoy this opening-- setting up that the people in Paris really ARE at about ready to riot and everyone really is angry, it’s not just Those Kids in A Bar Somewhere. It feels very A Few Pages of History, (4.1 , for those wondering!) and I’m glad it’s being given some time. 

-I am ALSO Highly Entertained that all this deep rooted and widespread social unrest is juxtaposed with flyers of THAT DASTARDLY VALJEAN. I’m sure to this Javert they’re exactly the same thing-- and I mean I am SURE because Javert tells us so directly: 

Rivet or Rivette or whatever: Uh boss we have intel on an attempt at overthrowing the government and I mean Parisians actually do that not infrequently of late so IDK  but I think we have bigger issues than your Nemeship 

Javert, Verbatim:  THERE IS NO. LARGER. ISSUE. MAN, Mark My Words, Where Ever You Find Unrest, HE Will Be At The Very Heart Of It 

THIS IS THE BEST THING THIS JAVERT HAS EVER SAID but it’s just gonna get better and I am SO here for Hilariously Overinvested In One Rando Thief Javert, he’s got basically nothing to do with Javerts Past and I do not CARE, this is hilarious

- Cutting over to Valjean and Cosette, with Cosette nursing his really oozy arm wound! I am NOT satisfied with Valjean’s “well I had to go back to the Thenardiers for  Reasons” line at ALL, especially not when Cosette was so clearly retraumatized.  I would accept a Scheme on his end, a moral argument, ANYTHING, but she’s just like “so this is awful” and he’s all “but Cosette, REASONS” . Also not satisfied with Cosette denouncing people as Evil! or Valjean signing off on it! I understand why she’s saying it from a Watsonian perspective but the show has chosen to set this up, to have the characters most associated  with redemption and recovery ready to directly condemn. This Cosette is infinitely more judgemental, and I can see why, because holy smokes this Valjean. And this is a fairly brief moment in the show but it’s just off for what this story and these characters represent.

- Meanwhile, in Some Cafe I Guess, Enjolras has some terrible lines about the upcoming revolution that make it seem like this has been a pickup game planned since all of last week and I have horrible foreshadowing of Fandom Arguments to Come. 

Also: this is not the fandom I think we are if we can’t just Nominate some Remaining Amis out of this mess of extras! I’ll go first; I nominate the bearded guy in the corner during Enjolras’ speech about Lamarque (at ~~4:43) for Bahorel, and the dark-haired guy in front of him for Joly.

-I love how grim the women’s prison is; also, Mme T trying to be as good a mother as she knows how to be even here.  (Also I know they probably should NOT be in the same prison together, but this is one of those condensations that I Get)

- I’m sure a lot of people are gonna hate it, but I actually really appreciate that this Marius is rather cold and unpleasant to Eponine post-Gorbeau, when she’s taking him to see Cosette. That is  canon!  He’s quite rude and even physically rough with her when he sees her again!  It’s an important aspect of his character; he gets caught up with his current Only Thing In The World and treats other people around him badly, it’s a running thing! Heck, this Marius is still  kinder to Eponine post-Gorbeau than his book counterpart.  I feel awful for Eponine, of course, but then I absolutely should. This is a Good Bit.  

-Thenardier escapes from prison by pretending to have Died of Dysentery--er, cholera! If they’re not gonna have Gav and the whole Escape By Night scene, this is actually a pretty clever, quick way to get Thenardier out, and build in the info about the cholera epidemic. I can never be exactly glad to lose Gavroche Scenes, but this was a pretty good way to abridge that! 

- Valjean’s arm  is better! So it’s been Some Vague Time! So he’s leaving for Mysterious Valjean Purposes (money), with a blithe “Cosette stay here, it’s safe but also don’t leave the house until I get back, also you can’t come with me because it’s dangerous, but don’t worry it’s TOTALLY safe.” If this Valjean were more the warm, loving character he should be, this might just seem awkward and badly phrased; with all that’s happened between them already and all that comes next, this just seems manipulative and cruel.

-Vajlean goes out into the streets and sees ...a drawing that doesn’t really look like him! On a wanted poster! So he tears it down. Javert’s Valjeany Sense Activates and his eyes open in his office when Valjean tears down the poster Who Knows Where. This delights me. DELIGHTS. This Javert is a hilarious parody of all Javerts and I officially love it.

-I also like Thenardier and...Montparnasse?-- and someone else..?why is this scene so dark --  in the sewers, and the cut from that to Cosette. Nice way to stress the actual real danger that Valjean’s left her in, also: good Cat Scare before Marius happens. (yeah and also Thenardier seems to be Leader of the Patron Minette, which is never my Fave Choice for an adaptation to make, but it makes sense, especially as breakneck as things are moving 

-Toussaint’s Cheerful Doomy Dooms of Doom while Valjean leaves her and Cosette to do his Secret Valjean Thing; since Enjolras has banned romantics from the barricade, guess we gotta take our cheerful death talk where we can! (also, totally canon!)

-okay, you know what, I really like Cosette’s scenes in the garden. This Cosette is doing a great job of selling me on her Extremely Young-ness. She seems young enough and unworldly enough that a Magic Boyfriend sneaking in without her noticing is Cool and Exciting and Magical instead of super unnerving.  She’s adorable. And there is really excellent framing here with the flowers and the lighting and all. It does  feel like a fairy tale, which, it really should; this is Cosette’s fairy tale romance and I’m happy for her.

...Unfortunately this Valjean is rather too much the part of the Ogre Parent and I wish Marius would just take her away.  Uhg. (also I haaaate this bgm. HAAAATE. I am not talking about it much and I know it’s probably just me but it is so obtrusive to me!) 

- Gavroche shows up, robbin’ all the randos and giving bread to a couple of genuinely unrelated street kids! I...am having such mixed feelings! I love this actor; this actor has Gavroche absolutely DOWN and I am accepting him into my heart entirely but...like...why is  this  part of the story  here,  why is there so much emphasis on him being a thief, why does he just leave the momes instead of trying to take them in, why is this show trying to make it visually clear that these aren’t his brothers? this is just..it’s the thing that keeps happening where there are a bunch of changes for no apparent reason and they don’t add up to anything new but they also aren’t the Original Thing and I can’t figure out what the point of those alterations really are (though this scene, with the extra thieving and reduced generosity, grand-total steals some of Gavroche’s heroism).  The actor is amazing but GIVE HIM HIS FULL BIT. 

- back to Definitely Some Cafe (it’s really well done, I just have no idea what cafe it is ? It’s full of workers, maybe this is supposed to be the Corinth?)  and a brief, foolish moment on my part of hoping there’ll be more discussion of why the rebellion is happening is Destroyed and turned to  “you rich students can go back to your families in the country but--”  THIS IS THE GHOST OF MY ASKBOX FUTURE AND I HATE IT , OH SPIRITS;  WHAT MAY I DO TO TURN THIS NIGHTMARE ASIDE

-...why isn’t this worker just...Feuilly...why are none of the workers Feuilly...

-P.sure my Joly HC is here 

either that or he’s BBC’s Merlin which might explain some things

- Awkwardness of Lost Historical Context aside, this Enjolras is growing on me (like a scruffy beard!) . He’s intense and physically affectionate and I like that in an Enjolras; I just think it’s weird that he’s hanging out with what are apparently random students who haven’t committed to the revolution frigging yet , but you know! Whatever!  

- ...I am currently kind of on the fence about this but...if they’re not gonna give the whole arc with Grantaire As Symbol of the Apathetic Bourgeois being Converted the time it needs, I ...think?  ..what they’re doing here might be a serviceable substitute?  He’s very obviously Not Got The Revolution Fever and is Doing It For His Friends, and he’s obviously super uncomfortable about it.  I like this take on that so far better than some versions I’ve seen. 

ATM, gotta say, the Amis Scene is bugging me the least. If it weren’t for the absolutely bizarre nonsense last week, I would be Pretty Okay with the Amis stuff?? WEIRD BUT TRUE.  Or maybe just a sign of how some adaptations have totally destroyed my expectations here to the point where “Enjolras isn’t actually Dracula” is Okay With Me. ANYWAY I’LL TAKE IT, A MOMENT OF LIKABLE CHARACTERIZATION. 

-The Revolutionary conversation segues with a cut to the Royalist Salon and Gillenormand, who  is NOT likeable and I’m not sure why we get this scene Here In Particular?  A contrast to the revolutionaries, I guess? But this Gillenormand continues to be very very  accurate. 

- At The House In The Garden, Valjean is back! Cosette comes to hug him! He apparently WAS worried that she wouldn’t be safe so what was with the reassurances earlier like she was being a stupid child! And most important

WHY DOES VALJEAN HAVE A BACK LACING WAISTCOAT  WHY DID HE WEAR THAT ON HIS TRIP AWAY  WHO LACED HIM UP WHILE HE WAS GONE  AAAAAAAAH 

okay I’m okay

- wait NO I’m NOT because now it’s time for the Patron Minette to come in and not-rob this place and the show completely destroys Eponine’s moment as the guardian of Marius and Cosette’s happiness!  Instead of her getting to intimidate a bunch of grown armed men into retreat, she’s attacked, threatened, and ultimately rendered  passive, her moment of heroism rendered null when no one comes to her scream, and her role in saving the Valjean house and all in the garden replaced by an actual dog.  I am really pretty furious about this! But the Character Destruction Of Eponine deserves its own post so Moving On FOR NOW...

- ...also are you telling me THIS hyper paranoid, aggressive JVJ doesn’t notice or react to screams and barking dogs 

- holy moly even kneeling Marius is almost as tall as Cosette, that’s not relevant to anything but it’s entertaining to me; it’s also Very Cute to have him comforting her by making himself smaller than her, when they’re both freaking out about her imminent maybe-move. 

- Valjean having a conversation with Eponine instead of just getting her note to move is not inherently The Worst! But the way he treats her just reinforces how cold and uncaring he is. There’s no compassion in him for a poor abused girl who could almost have been his daughter, no concern for how she might be faring, not even an awkward “hey be careful”.  Is it understandable? Yeah, sure. A lot of selfish focus is Understandable and human. But it’s not admirable, it’s not kind, it’s not the actions or attitude of a man who’s learned kindness towards the world through love, or who tries to put others first to the point that it would kill him. It makes sense, for some characters-- but it’s just not Valjean. 

-NICOLETTE IS THE HERO THIS ADAPTATION NEEDS and she’s SO happy to announce that Marius is back to talk to his awful awful Grandpa!

- The whole scene with Marius asking Gillenormand  for permission to marry is very satisfyingly awful and I have no complaints. It’s a bit abbreviated, and I wonder if people who don’t know the era will totally get that this is a question of needing adult legal approval?  but it’s not shortened beyond the amount that Adaptational Space might suggest. I’d take this little scene as a good illustration of the Gillenormand/Marius dynamic for anyone. Also: is that the Yellow Prisoner-Crafted Wallpaper???  BBC Set Design People, you’re the BEST

- I know I’ve already given kudos to the props and set people but I LOVE this little bachelor apartment that Marius and Courfeyrac are sharing, this is so great?? I’ve seen sketches from the era that look so much like this!  Give me a  moment to squeak happily about this place-- the low roof! The clothesline! The clutter! I love it! (@ about 30:00) 

- I HATE EVERYTHING ENJOLRAS  SAYS HERE THOUGH, even if I intend to meme out No Romantic Daydreamers to the FULLEST 

-Cutting back to Valjean and Cosette’s house, I also hate that Cosette defense-flinches when she wakes up! It’s been eight years! That should not still be her auto-reflex if she’s come to feel safe and loved!  My heart! 

Valjean tells her they have to move today. Valjean does NOT tell her where they’re going. Valjean gives her an hour to pack--and Cosette has to run out and ask Toussaint what the address will be and has to LIE TO TOUSSAINT about why she needs it. Valjean, there are secrets you might feel a need to keep from your daughter. WHERE SHE LIVES should not be one of them. “I’m taking you to an address no one knows and also you can’t have it ahead of time” is what kidnappers do! Watching Cosette write her note and move (terrible bgm and all) is breaking my heart--she is so alone in this house--no one is on her side, no one is there to listen to her, no one is really considering her feelings or giving her any explanations, she’s being moved around like a pet. The abuse is less florid than with the Thenardiers, but it’s still there, and I want to cry. 

The scene goes from soldiers marching outside the window of the new apartment to the funeral. Aaaand that seems like a good place to break this giant review in two. 

Randoming Fandoming:

-I’m pretty sure that at around 6:14 a woman and kid in modern clothes just wander in the background behind Marius! This is not a Complaint, these things happen to any production, but it’s fun to have spotted?