#based on the fall by alan stephens foster

[death-by-sc0tland]

the history between us does mean something. it’s the rage and pain in my hearts.

[lullabyashes]

I've waited a hundred years But I'd wait a million more for you

[butchdarling]

[ID: A digital drawing of Coco and Agott from Witch Hat Atelier. The two embrace mid-air with Coco throwing her arms around Agott’s head and Agoot wrapping her arms around Coco’s back. The two are backed by a bright blue sky with fluffy clouds. End ID]

[tweedfeather]

The Fall

(Based off The Fall by Alan Stephens Foster)

[autopoiesei]

flightless birds

based off of the fall by alan stephens foster

[heracleskarpusi]

HELLO GERITA AND ITAGER NATION I AM NOT DEAD AND I DO STILL THINK ABOUT THEM‼️‼️ this is supposed to be a gift for one of my roleplay partners btw :3 it’s based off of the painting “the fall” by alan stephens foster 😋 this took a little over a month to finish because i lost motivation to finish it halfway through 😭 it took a total of 37 hours, making it the new title holder for longest time i’ve spent on a piece,,, honestly idk if i really like it despite that but i spent too long on it not to post it

[caritasangelus]

i would do it again, just for you— no matter what— i would follow you into the end, even if it means following your command to betray you.

the last days of judas iscariot by stephen adly guirgis // the betrayal of jesus // judas by k. wright // the judas kiss by nicodemus silivanovich // judas' kiss by peter koenig // state of siege by albert camus // 5th sunday, judas leaving dinner // mary at the foot of the cross // ring finger by @caritasangelus // litany in which certain things are crossed out by richard siken // jesus is arrested by doug blanchard // the poem where judas iscariot learns forgiveness by @caritasangelus // the fall by alans stephens foster

FOR CLARIFICATION: i am NOT catholic, nor am i a catholic based blog. i am AGNOSTIC. i simply enjoy the aesthetic and i have tremendous amounts of catholic trauma as a queer youth. thanks <3

[vesper-roux]

WIP INTRO--ANTHEM: INTERLUDE

"You know, we make a pretty good team. Shame one of us is about to die, huh?"

🎶SVRCINA -Who Are You?

🎶SUPA GUCCI ╺╸ grieve ft. kyddiekafka

Status | Planning / Writing 1st draft (I have a lot of pantser tendencies)

Genre | Sci-Fi / Fantasy, Thriller

Form | Novella, likely to become a novel

Age Grade | New Adult (for language and violence) Characters begin the book as 13 and ~15-17, end as 19 and ~21-23

POV | 3rd Person--slight omniscient?

Setting | Ceador Empire--Vōā and Vērrå Provinces, Cave Cities

Themes | Religion, devotion and loyalty, class struggle, recognition through other, Man vs. Self, Man vs. Man, enemies to allies/friends, anti-heroes

Warnings | Death, body horror, general horror, rabies similarities, climate trauma, human trafficking, physical / emotional / psychological abuse, suicidal ideation

Synopsis | After robbing Lunar Bay Resort, home to one of the most powerful people in the empire, but being seen by a strange kid free to roam the private housing wing, a young rogue from the underground must engage in an elusive game as his witness takes the offense more personally than originally suspected. Their rivalry reveals to them a deeper, grim grasp on their places in society, their own buried fears, how they can understand each other, and hurt and help one another. This intermission in the Anthem series tells the story of an integral bond that forms before the main story's events.

Main Characters |

Galen (he/him) | 🖼️ | An overzealous member of a young gang in the Cave Cities, Galen is set on proving himself a trusted and invaluable subordinate to his boss. He is both resentful and overprotective of the only home he has--but not the only home he's ever known.

Willow (ve/they/he) | 🩸 | Training as a monk in the prestigious Yorough Temple thanks to vis pseudo-charge and warrior king of Vōā, Klaus Reitvelt, Will seeks to restore what little of vis pride remains and save vis life. Though none know of this injury to vis ego and why ve perceives this as a threat to vis life.

If you like__, you may like "Interlude"!

Annihilation by Jeff Vandermeer for the weird plants and animals (the existentialism and metamorphic nature is for the rest of the series)

Heroes, X-Men, or My Hero Academia for "super"powers--everyone has the potential, but not everyone awakens them

NieR: Automata for its existentialism and a lot of other inspiration I took from it

A:TLA for the cat-and-mouse between Aang and Zuko

The dynamic between Leon S. Kennedy and Ada Wong in the Resident Evil 2 & 4 remakes

The complex (albeit non-familial in this context) relationship between Silco and Jinx in Arcane

LotR for its close friendships between men (not in a "what about the purity of brotherhood??!! 😱" kind of way; I am a queer writer who will always write queer stories)

Underground civilizations, figuratively through crime and literally in a mountain

An animistic religion slightly inspired by Shintoism, feudalistic society slightly based on Edo Period Japan

Fantasy languages inspired by Icelandic phonetics

The painting in the moodboard is The Fall by Alan Stephens Foster

[mcbastardsmausoleum]

Creature With the Blue Hand (1967) With the Bonus Film Web of the Spider (1971) on Blu-ray & DVD, Oct. 22nd from Film Masters

Newly Scanned in 4K From Original U.S. 35mm Archival Elements

For those craving a taste of “Euro-Kinski”—and just in time for Halloween—two of Klaus Kinski's European features are now available in one creepy package., scanned in 4K from original 35mm archival elements, available Oct. 22 in a special two-disc collector’s edition on Blu-ray and DVD from Film Masters.

Creature With the Blue Hand (1967)

Originally released in Germany as Die Blaue Hand, the film was bought by Roger Corman’s New World Pictures and released in the U.S. in 1967 as the alternate version, Creature With the Blue Hand. This release is presented for the first time on Blu-ray in North America. A mystery-thriller about a series of grisly murders. It's one of several German films based on the novels of Edgar Wallace, many adaptations of which starred Kinski. Directed by Alfred Vohrer, the film also stars Harald Leipnitz and Carl Lange.

The film follows an inmate (Kinski) who is being held at a questionable sanitarium. When the inmate escapes and a series of murders occur, signs point to him as the killer ... but is he? Based on the novel, The Blue Hand, by Edgar Wallace, Creature With the Blue Hand is a suspenseful ride with many gothic elements and complex plot twists. Labeled as a “Krimi” film, this is a classic example of the genre, combining elements of mystery, crime and horror.

The film was later acquired by Independent International Pictures and released to home video in the U.S. as The Bloody Dead in 1987 with six minutes of new footage, shot specifically for the release. The extra footage is included in this special edition as a bonus feature, which also includes a HD version of the full film, The Bloody Dead.

Web of the Spider (1971)

A classic haunted house tale from Italian maestro, Antonio Margheriti, with Kinski as none other than Edgar Allan Poe! It's a diabolical double dose from one of cinema's most controversial and unique figures!

In the film, American writer Alan Foster is challenged to spend the night in a haunted castle by Edgar Allan Poe and his friend, Lord Blackwood. Foster, intrigued and eager for new inspiration for his writing, accepts the challenge. Once inside the supposedly deserted castle, Foster encounters many intriguing characters including the beautiful Elisabeth Blackwood. Foster and Elizabeth fall in love, but things are complicated when Elizabeth reveals that she may not be entirely alive. In a series of increasingly supernatural events, Foster learns about the tragic and sinister history of the castle and its former inhabitants. As the night progresses, the line between reality and the supernatural blurs.

Web of the Spider also stars Anthony Franciosa and Michèle Mercier and is a remake of director Margheriti's earlier film, Castle of Blood (1964). This version of Web of the Spider is the 92-minute U.S. version of the original Italian version of Nella Stretta Morsa del Ragno

SPECIAL FEATURES:

New 4K transfer of The Bloody Dead, the alternate version of Creature with the Blue Hand; Ballyhoo Motion Pictures presents two new documentaries, A Man Of Mystery: Inside the World of Edgar Wallace and Kinski Krimis: Inside the Rialto Film Adaptations; authors and film historians Stephen Jones and Kim Newman join forces for full commentary tracks for Creature With the Blue Hand (liner notes by Nick Clark) and Web of the Spider (liner notes by Christopher Stewardson); Samuel M. Sherman provides an archival commentary track for The Bloody Dead; Creature with the Blue Hand original 35mm film trailer and recut trailer using restored film elements; and a new 2024 trailer for Web of the Spider, as well as the original English theatrical trailer for Castle of Blood.

TECH SPECS:

Creature With the Blue Hand and The Bloody Dead are presented with an aspect ratio of 1.66:1; and Web of the Spider is presented with an aspect ratio of 2.35:1. Discs are region locked to North America and include English SDH. Audio is DTS-HD/Dolby AC3s.

About Film Masters:

Film Masters is a consortium of historians and enthusiasts who seek to celebrate the preservation and restoration of films. We are archivists, committed to storing film elements for future generations and reviving films that have been sitting dormant for decades. By scanning in 2K and 4K, we give these lesser-known films the red-carpet treatment they deserve. Leveraging modern means of distribution to release forgotten films back into the world, we also produce original bonus materials, including feature-length documentaries, which aid audiences in contextualizing and celebrating these works of art as they were meant to be. Visit us online at: www.FilmMasters.com

Creature With the Blue Hand

Film Masters

Genre: Horror/Cult

Not Rated

Format: Blu-ray & DVD

Running Time: Approx. 167 Minutes (+ 291 Minutes of Special Features

Suggested Retail Price: Blu-ray $29.99 / DVD $19.95

Street Date: Oct. 22, 2024

Catalog #: Blu-ray FMB017 / DVD FMD017

UPC Code: Blu-ray 760137158776 / DVD 760137158868

[buzzdixonwriter]

George Lucas Is A Lousy Storyteller, Episode Two

As noted, Lucas alone never rises as high as he does with collaborators.  He’s been extremely fortunate in his career to have been in the right place and the right time and to have struck alliances with numerous creators who possess a far better story telling sense than him.  Walter Murch, Leigh Brackett, Lawrence Kasdan, Stephen Spielberg, Ron Howard, and the aforementioned Gloria Katz and Willard Huyck.

But he bungled the Star Wars franchise at the very beginning, demonstrating he lacked insight into the reason his film became such a huge success.  He started on an enviable high note, but instead of sustaining it he immediately set to work sabotaging his own concept.

Lucas changes his own history repeatedly, ghosting people whom he feels have failed him (such as Jim Nelson, the original associate producer of Star Wars who took the fall for budget and schedule overruns) or else stand up to him creatively (viz. Irvin Kershner, the legendary “last man to say no to Lucas” who overruled his boss to shoot the famous “I know” line in The Empire Strikes Back that delighted audiences, a situation Lucas never allowed again). 

Star Wars began life as the (hopefully) first script in a proposed film series, with Lucas recruiting Alan Dean Foster to write both the novelization for the movie and an original novel, Splinter Of The Mind’s Eye, to serve as a low budget sequel should the movie falter at the box office.

It’s long been speculated that Foster also did an uncredited re-write on the first Star Wars movie but he has formally denied this and so we will take him at his word and just say for once in his life George Lucas actually wrote a good screenplay.

But when the first film became the biggest hit of all time, Lucas forgot about moving the story forward and instead concocted a grandiose scheme that would involve four sets of trilogies with a standalone movie between each trilogy for a total of 19 movies.

This was a mighty high aim in 1977 (though Marvel and Eon Productions have proved it can be done).  It would have been a challenge had the original Star Wars been the first film in the series, but instead Lucas retconned it to be the first film in the second trilogy, with the first three to be filmed after episodes IV / V / VI were complete.

Again, this might have proven workable, had not Lucas decided the Star Wars saga would be about the ultimate dysfunctional intergalactic family.

Oh, no.  No, no, no, George.

Audiences responded as strongly as they did because they’d been primed and waiting for Star Wars all their lives.  From Buck Rogers and Flash Gordon to Lost In Space and Star Trek, they’d been given a taste of what glorious space opera could be, but instead of focusing on the whiz bang and daring-do that makes that sub-genre popular, Lucas opted to focus instead on Darth Vader’s lifelong hissy fit.

Here, let me say it out loud:  The success of Star Wars occurred despite George Lucas, not because of George Lucas.

It occurred because comic books and video games and novels and animated series and fan films gave the audience what they really wanted.

Lucas infamously bragged that when he sent the first draft of what became Episode I: The Phantom Menace to fellow directors and screenwriters, they all told him it was perfect and not to change a word.

The only way to get more smoke blown up an ass would be to set fire to a donkey’s stall.

The Phantom Menace unravels like a tyro’s screenplay, with numerous scenes ending on some variation of “I can’t think of anything else to say so I must ask you to go now” (hint: It’s called” CUT TO:” George). It’s far from the worst script ever written, but lordie, it sure ain’t a good one, much less a great one.

And Lucas, despite the boffo b.o. stung by audience reactions, proceeded to change plot points for succeeding Star Wars movies based on their set-ups not being fully appreciated.

If the audience can recognize a clue when it’s dropped in front of them, it ain’t gonna be a surprise when you finally reach the big reveal, right?

Yet if you panic at initial reactions, you undermine the (allegedly) carefully constructed story you built on those clues.

You can’t have your polystarch portion bread and eat it, too, George; either stick to your plan or play it by ear, but if you choose to plan, don’t gut it because you lack faith in your own storytelling abilities.

And there was a collective sigh of relief when The Rise Of Skywalker finally brought the original saga to an official close so audiences could forget about that and shift their attention to the more satisfying TV series such as The Mandalorian.

Lucas, lacking an understanding of why thematic structure is important in storytelling, contradicts his own mythos again and again and again.

He turned The Force from something any dedicated being could aspire to master into a luck-of-the-draw genetic mutation, creating a race of elitist super-beings who are justified in treating non-Force users like crap.

After plucky young Anakin saves Princess Amidala’s home world, she doesn’t visit the ATM machine in order to buy his mom’s freedom.  She does develop romantic feelings for him and marries him when he grows a pair.  Yuck.

Outside of making her catty, he gave no thought to Leia’s character, having her shrug off the destruction of her home world as if her bagel fell cream cheese side down, then letting her father -- purportedly as mighty a master of The Force as ever existed -- to torture her with drugs and a hypodermic needle yet she never displays any psychological ill effects from this nor does he recognize her as his own daughter (proof positive Lucas never possessed any clear idea of what he intended to do with the series).

Jar Jar Binks, whom Lucas apparently originally conceived as an undercover villain who only pretends to be inept, gets virtually written out of the storyline when audiences responded negatively to him, despite Lucas laying clues that would later reveal his duplicity.

You don’t do that.  You don’t listen to audiences and undermine a sub-plot you’ve already worked out just because they don’t grasp its importance yet.

As a creator, you owe your audience something, and that’s a story told to the best of one’s ability.

Lucas never displayed originality as a creator.  His first hit relied on him tapping into a cultural zeitgeist already primed at the pump:  Boomer nostalgia for the days before the Kennedy assassination.

Lucas cast Ron Howard in American Graffiti based on Howard’s performance in the pilot of TV’s enormously successful sit-com Happy Days (seen as “Love And The Television Set” a.k.a. “Love And Happy Days” on the Love, American Style comedy anthology series). 

Lucas didn’t pioneer new territory, he jumped onboard a train already pulling out of the station.

His later megahit, Raiders Of The Lost Ark, reflects little of him and more of Spielberg.

I’m not an overawed fan of Spielberg’s style of filmmaking, but the guy does know how to tell a story and in his later years turned out some really good work.

Lucas lacks that talent.  He would function best as a journeyman studio director in Hollywood’s golden era, someone to be handed over to a no-nonsense producer with a fully developed script who could supervise the final product without having to step in too often.

Come to think of it, perhaps I’m being too harsh on Lucas.

After all, he is telling stories to the best of his ability.

It’s just that like his retconned Force, if you don’t already possess the storytelling gene, you never will.

    © Buzz Dixon

[ingapotejtoo]

i was gonna go with a very specific title but heehoo brain empty only desertduo this is based off a very specific part of Alan Stephens Foster painting called “The Fall” :]

[prim-moth]

Reunited

Based on Alan Stephen Foster’s “The Fall”!

ID: a digital painting of Arthur Lester & John from Malevolent. They're both falling back, Arthur poses to catch John his face ducked down and hidden. John has his hand out and lightly holds Arthur. Arthur has light skin, dark brown hair, wears a dark vest over an white shirt, a tie and dark pants. John is a yellow tattered robe with a much shorter fabric on his right side. The background is beige and dark greys. End ID.

[pain-in-the-butler]

A lot of people use Alan Stephens Foster’s The Fall as a base for ship art, so maybe I shouldn’t be surprised it would eventually be used for SebaCiel. But it always looked like a moment between a father and son to me? Like maybe the dad came back from a war and the son was relieved he was alive? Or is it just my asexual brain? I don’t think the story behind the actual art is available anywhere, I’ve looked. Anyway, it’s given me big Dadbastian energy since I saw it however many years ago so I’ll be outside kicking rocks and frowning

[peonypaint]

redrawing the fall (by alan stephens foster) and romantic encounter (by mihály zichy) as ankh and eiji

[ ID: two digital drawings of ankh and eiji from kamen rider ooo. the drawings are based off two different paintings, the fall by alan stephens foster and romantic encounter by mihály zichy. both drawings are sepia toned with the only color being ankhs red wings and clawed hand. in the first drawing, ankh and eiji are falling downwards in an embrace, with ankhs claw curling into eijis hair while eiji reaches up to hold ankhs outstretched arm. in the second drawing, ankh and eiji are embracing and kissing in the attic, eijis eyes are closed and ankh is looking down at eijis face with half open eyes. ankhs red wings are beginning to unfold behind him. /END ID]

[ecstaticunicorns]

the fall ✨

(based on the fall by alan stephens foster)

[tantaliart]

falling

[first pose based off “The Fall” by Alan Stephens Foster]