#captives 1988

[iamcinema]

Captives (1988)

[thethirdbear]

[he-is-lightning-in-a-bottle]

Watch Tracy Chapman Start a Quiet Revolution

You guys may be too young to remember, but I remember tuning in on TV with 600 million other viewers to watch Stevie Wonder live at Wembley Stadium for Nelson Mandela's 70th birthday celebration tribute in 1988. There were technical difficulties and Stevie Wonder couldn't go on yet. The crowd was antsy, milling around, singing their own songs. The TV cameras were rolling and the show had to go on, so TOTALLY UNKNOWN ARTIST TRACY CHAPMAN GOT UP ON STAGE AND PLAYED FAST CAR ARMED WITH ONLY HER GUITAR.

The crowd fell silent. Captivated by the absolute raw honesty and talent on display. Did we know we were witnessing history? A black queer artist who would rocket to fame and win a Grammy for this song the following year? I don't remember.

What I do remember is getting to the end of the song and not caring about Stevie Wonder any more. I wanted to know who this woman was!

Watch Tracy Chapman stun a rowdy crowd into silence:

[splatteronmywalls]

[gazkamurocho]

“The year is 1988. The young Goro Majima is a prisoner in Sotenbori and is forcefully working as the manager at the biggest and most successful cabaret in the city: The Grand.

During his captivity he discovers a way to momentarily forget his predicament. By freeing himself as ‘The Queen of The Night’, Goromi. 

Together with his new-found love, Kazuma Kiryu, the two of them have fun and enjoy each other’s company as much as they can because their time together is limited and it’s almost coming to an end.

Kiryu will make sure to give Goromi and Majima a night they will never forget.”

--

It's finally here! The first look on the opening sequence of 80s Goromi doujinshi ❤ (title still in the works~)

More info about this project under the cut!

--

Different from my usual comic strips, this is a long doujinshi and the total page count will be something around 40~50 pages. Besides Kiryu and Majima, we will also have characters like Sagawa, Yuki-chan, Youda and the Sunshine Club girls making an appearance. The plot, script and scenes are all ready and I’m storyboarding and drawing the pages as I progress through the script!

This is also a R-18 adult doujinshi. There’s a lot of fluff, angst and fun interaction with the other characters but a good chunk (mostly half) of the comic will be dedicated to hentai (so rejoice you horny ones fdsjkfhdj). (For those who are curious about the spicy parts, it’s my established 80s Goromi and Y0 Kiryu’s dynamic: Goromi is the top and dominant one and, as a good and obedient boy, Kiryu will obey all of her orders and will do anything to please his queen. 👀 So basically, Goromi will destroy Kiryu dhsfksd) 

I’ll be sharing the first 4 pages and then some random ones to the public, but after those, all new pages will be exclusive to my patrons on Patreon! I’m gradually posting over there WIPs, behind-the-scenes and new pages as I make them. I’ll always let you guys know on my social media when I post a new finished page on my Patreon!

I expect half a year or a year for the whole doujinshi to be finished. But the more support I have on Patreon, the faster I can make this doujinshi!

Once finished, I’ll make the complete doujinshi available for purchase in one of my online shops! Yes, this will be a paid comic. I’m pouring all my love for Kazumaji and 80s Goromi in this doujinshi but it also takes a lot of time and dedication to give life to this project so I hope you guys understand that decision. ❤ Of course, all the patrons who support the comic on Patreon will have the whole doujinshi available to them from the get-go.

It will first be available as a digital PDF but I’m also planning to release it in physical format down the road.

Making long comics has always been my true passion, ever since I was a little kid. And I also have other long adult doujinshi planned. If everything goes smoothly, this comic will be the first one of a series of Kazumaji doujinshis! ^^

[panimoonchild]

Russian culture is ethnic cleansing and islamophobia

Today is an important day to qırımlılar but many of them will be celebrating it in Russian captivity.

Ruslan Mesutov was illegally sentenced by the occupiers to 18 years in prison on charges of alleged "terrorism".

Even though the 58-year-old man's health condition has deteriorated, he is not being provided with appropriate medical care. Ruslan Mesutov is forced to go on hunger strike, because, contrary to his religious beliefs, he is fed food with pork in it. The prison where he is being held is called a "criterion" because of its harshness. There are four people in a damp cell, who are taken for a walk on the roof of the prison once a day.

Life before detention: Ruslan Ametovich Mesutov was born in Uzbekistan, in 1988 he returned to Crimea and got a job as a turner at a factory in Alushta, where he was allocated a land plot.

Later, he brought his parents and sisters to the Crimea, married Elzara Hodzhenova, and had two sons. Ruslan was a member of the Crimean Tatar People's Movement. In the village of Malyi Mayak (Buyuk-Lambat), Ruslan organized the Muslim community "Avdet", which is part of the Spiritual Administration of Muslims of Crimea, and became one of the founders of the religious community of Alushta. He was a security guard at the mosque, engaged in social activities, organized Muslim holidays, helped with funeral issues, took care of paperwork, and held prayers. Representatives of the occupation authorities detained the man on June 10, 2019, along with other Crimean Tatars. The occupation investigators charged Mesutov with violation of Part 1 of Article 205.5 of the Criminal Code of the Russian Federation ("Organization of a terrorist organization"), which provides for imprisonment for a term of 15 to 20 years. And even Part 1 of Articles 30 and 278 of the Russian Criminal Code ("Preparation for the violent seizure of power by an organized group by prior conspiracy"), which provides for up to ten years in prison. In May 2020, Ruslan was transferred to the territory of the Russian Federation. An illegal sentence was handed down on August 16, 2021, and the man was sentenced to 18 years in a strict regime colony with a 1-year and 6-month restriction on his freedom after release. Mesutov was arrested two weeks before the court hearing, which was to consider the claim of the religious community of Alushta regarding the transfer of the city mosque by the occupation administration to the illegal formation of the "Spiritual Administration of Muslims of Crimea". The main real reason for Ruslan Mesutov's detention is his religious and public activities, identity, and support for his people. The 58-year-old man is being held in a Russian prison in the Lipetsk region. According to his lawyer, Siyar Panich, his client's health condition has deteriorated and he is not being provided with medical care. Since November 2022, Ruslan has had difficulties with nutrition, as pork has been introduced into the main diet. According to his religious beliefs, Ruslan Mesutov does not eat such food. The Muslims serving their sentences in this institution wrote an appeal to the administration, but the problem has not yet been resolved.

The political prisoner's Quran was also taken away from him. "The Quran in Arabic was taken away from Mesutov to be examined by a specialist, who said it was a 'normal Quran' and not an 'extremist' one. Since then, since November, he hasn't been able to get it back, and it depresses him quite a bit," said lawyer Volodymyr Bilenko.

Info from @ ppu_gov_ua

That how our people look like and behave when they're finally free from Russian captivity.

[thenightling]

Happy Sandman day!

The day Morpheus escaped captivity in the comics in 1988. :-P

[morbidology]

On August 11, 2000, 7-year-old Midsi Sanchez was walking home from school in Vallejo, California, accompanied by her younger brother. Due to her brother's slower pace, Midsi had moved ahead when she suddenly fell victim to a horrifying abduction. A man forcibly seized her and forcefully placed her inside his car. Once inside, he handcuffed Midsi to the car's gear stick and concealed her beneath a blanket. For the ensuing two days, he drove around with her captive, providing her with nothing to eat or drink except wine and beer.

The perpetrator eventually parked his car in an industrial area of Santa Clara, approximately 70 miles away from where he had initially abducted her. When he exited the vehicle, he inadvertently left the keys behind. In a remarkable display of courage and resourcefulness, Midsi seized the opportunity. She managed to retrieve the keys and proceeded to methodically test each one to unlock her handcuffs. Miraculously, her efforts proved successful, and she succeeded in freeing herself, clambering out of the car through a window.

The man quickly realized her escape attempt and gave chase. In her desperate flight to safety, Midsi ran onto the road and frantically signaled a passing trucker. This unexpected intervention prompted her kidnapper to flee in the opposite direction. Witnesses provided crucial descriptions of the kidnapper to the authorities, leading to the eventual identification and capture of 39-year-old Curtis Dean Anderson.

Subsequently, Anderson's arrest unraveled a horrifying web of additional crimes. He was linked to the 1988 disappearance of 7-year-old Amber Swartz-Garcia and the 1999 murder of 7-year-old Xiana Fairchild. Following his apprehension, Anderson chillingly confessed to the murder of six other children, a nightmarish revelation for Midsi's family and countless others. Anderson was ultimately sentenced to 302 years in prison, but he took his own life in 2009.

[shipposttt]

the Ship of the Day: Dreamling

As always, spoiler warning for The Sandman!

Names: Dream/Morpheus and Hob Gadling

Ship Name(s): Dreamling 

Original Content: The series adaptation of The Sandman graphic novels (debut 1988), The Sandman (2022) on Netflix

Ship info:

The Sandman is a Netflix series based on Neil Gaiman’s graphic novel series, following Morpheus (Dream), who is one of the Endless (much like Desire, Despair, Death, Delerium, etc, etc.) as he escapes captivity, recovers his symbols of power, rebuilds his realm -the dreaming-, rounds up the missing dreams and nightmares, and ends what mortals referred to as the sleeping sickness (where many humans couldn’t sleep and others were stuck in a coma for the course of his imprisonment).

We meet Hob Gadling is an immortal human that we meet through a series of flashbacks within episode 6, alongside one present day scene. The first of these flashbacks depicts how Hob gained his immortality, as Dream and his sister Death go to a tavern in 1389 and overhearing Hob loudly proclaiming that he would never die because he chooses not to. Dream convinces his sister to grant him immortality, convinced that Hob would beg for death if he did so. So as to monitor his experiment, he told hob to meet him at the same pub in a centuries time, with no explanation or introduction. Low and behold, Hob meets him there in 1489, asking whether he made a deal with the devil and who Dream was- though Dream does not give him his name, instead asking him if he still wishes to live, Hob responds “I have so much to live for”. This continues every century thereafter, up until the 19th century:

In 1589 Hob once again responds that he has so much to live for, explaining he had been knighted by the queen, got a wife and had a son with her- Dream leaves him at his table as he hears local poet William Shakespeare talking about his works, instead going to make a deal with him as Hob is left surrounded by the banquet he laid out for his mysterious acquaintance.

In 1689, Hob is starving and eating any food he can as he sits opposite dream, telling the story of how he lost it all- his wife, his son, his home, his money, and had spent the century starving without being able to die following his town attempting to drown him as a witch for his lack of aging. Despite this all, when Dream asks if he still wishes to live, he replies as usual “I still have so much to live for”.

In 1789 Hob bounces back, having gotten involved in the shipping business and the slave trade. Dream advises against such actions, stating that is it a poor thing for one man to enslave another (foreshadowing anyone?). Though he clearly disagrees with Hob’s actions of that century, he restates that the choice is Hob’s, “but would you take that choice away from others”, resulting in Hob saying he will consider his advice. Moving on from this, Hob tries to steer the conversation away from that subject, asking after William Shakespeare and what deal Dream made with him- “What kind of deal? His soul?” “Nothing so crude”, following up by asking Dream for his name and who he is truly since he still knew very little of him despite knowing one another for 400 years. Unfortunately, their meeting is interrupted by Lady Johanna Constantine, who had heard of the meetings of the Devil and the Wandering Jew every century in the tavern, showing them pictures drawn of the pair’s meeting from the prior century and threatening that her mercenaries will slit their throats if they move. She invites Dream to share his gifts of immortality with her, though the pair decline, stating they are no devil and that Hob is not Jewish, and Hob swiftly protects Dream- taking out the two mercenaries with his extensive history of war and battles during his own mercenary life gone past. When Constantine then draws her blade on Hob in turn, Dream blows sand (one of his symbols of power) into her face, showing her her old ghosts, essentially sending her into a nightmare.  This is the first time Hob sees any of Dream’s powers (other than immortality of course). They smile at each other!! (Trust me that is very important because in all honesty Dream looks like a kicked puppy the rest of the time in this show and we see him smile most often with Hob. Though of course this could just be due to their long-term friendship.) Dream reiterates that Hob should remain cautious, even if he cannot die, he can still be harmed or captured (once again, foreshadowing anyone?).

In 1889 they meet once again, with Hob being shown another element of Dream’s powers as Dream is able to know Lushing Lou’s name and some of her traumatising past. Hob admits that he doesn’t believe they still meet up to see if Hob still seeks death, as he doesn’t think he ever will, he instead believes that they continue to do so because Dream is lonely and is there for friendship. Spoiler alert: Dream doesn’t take kindly to this. “You dare… you dare suggest one such as i might need your companionship” “yes, yes I do.” “Then I shall take my leave of you and prove you wrong” ”I’ll tell you what, I’ll be here in 100 years time, if you’re here then too then it’ll be because we’re friends, no other reason, right? … fuck.”. We love the drama, and by we I mean me, I love the drama.

1989… so things didn’t leave off too well the previous century huh… despite it all, Hob still went to their meeting spot, only for Dream to never show. Whilst there, he finds that the building is due to be sold so as to be torn down, with Hob leaving graffiti pointing to “The New Inn”, going back every day in case Dream showed up. Now how dare Dream not turn up!! I cannot believe he truly didn’t believe them friends after 5 centuries!! Yeah, so about that… Do you guys remember the foreshadowing?  And the description of the series following him as he escapes confinement? Between the 19th and 20th centuries’ meetings, Dream was captured and imprisoned by Roderick Burgess, physically unable to leave his fishbowl in the basement (from 1916 to 1988).

In the present day, when he finally breaks free, Dream tracks Hob down to the New Inn:

“You’re late”- Hob       “It seems I owe you an apology, I’ve always heard it impolite to keep one’s friends waiting”- Dream

The scene then cuts to Dream’s sibling, Desire, their statues heart thumping.

Type of Ship: Queer read

Now, though they do not label themselves friends for much of their association (only officially doing so in some of the final scenes of them) and definitely don’t refer to one another as romantic partners throughout the series, fans have consumed this media through a queer lens, shipping the two together. This could be for many reasons. For instance, as previously stated, Dream looks like a sad kicked puppy for the majority of the season, he lights up around Hob, showing more positive emotions, smiling, chuckling, making jokes and just all around acting more human instead of the endless being her truly is- this has been interpreted by fans as him feeling safe with showing the vulnerabilities associated with humanity and mortals when around Hob, which is an intensely intimate feeling to convey. Despite this he is also shown to feel safe showing that he is not human, comfortable in using his sand and showing off a bit in 1889 before the argument. Feelings of intense safety are usually reserved within media for shows of love: familial, platonic or romantic. Now of course it is not familial love that they have so it left fans choosing between the latter choices. Further reasons for fans viewing them as queer is due to them protecting one another, encouraging one another’s safety and literally waiting a whole century visiting a specific inn in hopes that the other would show up. Of course, we cannot forget about Desire, the timing of the scene cutting to them has left many fans seeking a connection between Dream seeing Hob again for the first time and then Desire immediately thereafter knowing that Dream had escaped his imprisonment. This has been interpreted to mean that Desire could feel Dream’s desire to see Hob or perhaps a burst of desire for him when he does see him. Though it is unknown whether this is true or not, and if so whether said desire was platonic or romantic in nature, it was left open ending enough for fans to jump to their own conclusions. Considering Neil Gaiman’s acts surrounding the Good Omens series (book and tv, which I have spoken about in a previous post), fans know he is not hung up on traditional portrayals of love, both in the sense that he is willing to visibly have queer characters and queer love stories prominent in his works and that he is willing to portray romance in a more in depth and complex way than outright confessions of love and kissing behind the bleachers. As such, they are able to confident read characters as queer without fearing it being turned into queer bait, allowing for portrayals such as Hob and Dreams relationship (platonic or otherwise, though im personally hoping it will one day be the otherwise). Of course, all relations between the two could be construed as platonic, with them using terms such as ‘friend’ quite clearly to refer to one another, but fans such as myself are completely free to interpret it romantically. Either way, we can all agree that Hob served spectacularly to humanise the Sandman, Dream of the Endless.

Thanks for reading!! I’ve watched the series a few times and have recently started reading the graphic novels/comics so im looking forward to exploring how the pair are explored within that in comparison to the show!

Admin🦇

[newyorkthegoldenage]

George Copeland Ault, Ninth Avenue, 1924. Oil on canvas.

Living in Greenwich Village in the 1920s, George Ault depicted the buildings of New York City with a distinct style of simplified forms, solid colors and extreme angles. Painted in 1924, Ninth Avenue is a dynamic example of Ault's unique form of Precisionism, incorporating elements of Surrealism to create a sense of disquiet amidst the vibrant streets of the city.

In the present work, Ault takes a perspective from under the Ninth Avenue El, which was the first elevated railway in New York and operated between 1868 and 1940. Highlighting the sleek lines and repetitive nature of the architecture around this modern transportation hub, Ault minimizes the cityscape to its most basic geometric forms and executes the composition in flat planes of primary colors. In the foreground, an elegant woman walks her adorable dog, and brilliantly colored cars are parked at regular intervals along either side. The vertical supports of the rail platform emphasize the intense one-point perspective of the scene; as a result, the road and trolley tracks seem to very rapidly recede into the distance as the block-like buildings squeeze closer and closer from both directions. The underlying tension within this outwardly bright, modern cityscape is further underscored by the vibrant signage, which tantalizes the viewer's curiosity but remains largely illegible behind various obstructions.

Ault once referred to New York as "the Inferno without the fire," and the nuances of the present work illustrate that duality that captivated and inspired his many views of the city.

—quoted in George Ault, exhibition catalogue, New York, 1988, p. 7

As Roberta Smith has written of the artist, "Ault's firm, unflamboyant way with a brush, his feeling for a building's austere, carefully dovetailed planes and, above all, his love of light as painting's form-giving, mood-setting force, sustained him at nearly every turn, in any direction he chose to move ... He brought to his various scenes an idiosyncratic poetry and a sadness that was neither hidden nor indulged, but kept at an arm's length with a sense of dignity that, strangely enough, could almost be celebratory. In Ault's paintings, one feels that he loved life, even if life did not particularly love him."

—George "Ault's Sad, Everyday Beauty in Stillness," The New York Times, April 29, 1988

Photo: Christie's

[plethoraworldatlas]

Noreen and Antonia, born last May, are among first cloned offspring of a native endangered species in North America

Two more black-footed ferrets have been successfully cloned in an attempt to save the endangered species, the US Fish and Wildlife Service (USFWS) announced.

The national agency shared news about the births of ferrets Noreen and Antonia, who were both born last May.

Both ferrets were cloned using tissue samples collected in 1988 from a female ferret named Willa. The 2020 birth of a black-footed ferret – using the same genetic material that produced Noreen and Antonia – signified the first cloning of a native endangered species, the USFWS reported.

The cloning of black-footed ferrets represents a significant milestone in the continued fight to save the gravely endangered species.

The black-footed ferret – known for the black markings on its tail, feet and eyes – has been categorized as endangered since the 1960s, according to the USFWS.

Agricultural expansion, the prairie dog and other factors led to a sharp decline in the ferret’s population, which was anywhere from 500,000 to 1 million in the 1800s.

The species was presumed extinct in 1979, when the last black-footed ferret died in captivity. But a small population of ferrets was discovered in 1981 by a Wyoming cattle rancher.

Conservationists quickly captured the wild ferrets and launched the Black-Footed Ferret Recovery Program, breeding the rare mammal in captivity to increase its population.

Willa was among the few ferrets who were initially captured. Unfortunately, the female ferret did not have any living descendants. But scientists collected her genes and tissue samples – freezing the precious cells at the Frozen Zoo in San Diego, California.

The cryobank hosts more than 10,000 “living cell cultures, oocytes, sperm, and embryos” from nearly 1,000 species, according to the zoo’s website.

[youreorangeyoumoron]

✨ WIP Wednesday ✨

I was tagged by @allatariel last week! thank you :)

So I have a couple Margo x Sergei WIPs in store. None of them are particularly polished, though there's always the Brazil one but atm I find it so cringe that I can't bear to look at it.

But! I chose a few paragraphs from this AU that I've been cooking up (letting it stew would be more accurate) about Margo and Sergei babysitting baby Javi.

Now Javi was born in 1988, 89, give or take, which places this fic after Margo and Sergei discuss sushi, and before Sergei successfully goes for the Hand Touch ™. I was curious to write a Margo who's gained a lot of confidence since S2 but still remains a little awkward at times, there's potential for a lot of fun, and for her to reflect on her relationship with Sergei with her newfound confidence. Just what exactly happens in those twelve months in between elevator rides that makes her ready to accept more intimacy with him? Let's rotate her thought process for a bit.

(his divorce helps, lbr, but I'm looking for her "...oh". moment. Which knowing her may take several moments and a severe barrelling through her mental defenses but that's what fanfic is for)

Javi stared intently at the new guy, clenching Margo’s jacket in his little fist. Sergei removed his own jacket and hung it on the hook by the door. His tie came off next, leaving him in his white shirt. He pointed at Javi’s fist. “It’s a very nice jacket. Kids are messy.” Margo glanced down at the kid, saw the death grip he had on her lapel – and a small drool stain from earlier. She sighed. It was a very nice jacket. “Yeah, I should change, I brought a change of clothes. Can you…” She handed Javi to Sergei with fumbling gestures; he pulled the kid into a much more assured embrace, which reassured her. She slowly backtracked into the hallway. Suddenly held by unfamiliar arms, Javi began to whine. Margo winced, gestured towards the kid. “Or he could go on his playmat. Do you want me to…” “No, no, it’s alright.” Sergei began to rock Javi, with a lot more ease than she had. His entire attention was captivated by the baby in his arms. As the whines turned into full-blown cries, Sergei caught the pacifier just in time and set it on the side table. “It’s okay, Tia Margo will be in the next room for a few minutes,” he told Javi in a singsong voice that she could never muster. It shouldn’t surprise her. After all, he was the man who had her playing pretend with him in the Apollo-Soyuz docking module prototype. (For a while this experience had embarrassed her; as of late it had become a fond memory.) Seemed like he had everything under control, Margo mused as she picked up her overnight bag and escaped to Aleida’s room, where she changed out of her work clothes and into the NASA-branded T-shirt and sweatpants that she kept in her office just in case. She had made the right choice calling him over; she loved Javi, but she could use his expertise. When she made her way back to the living room, she was surprised to hear, well… nothing. She found them settled on the couch, Javi held in Sergei’s arms, clutching his bunny with one hand and intently exploring Sergei’s beard with the other. She took a minute to bask in the curious sight of Sergei sharing a special moment with an infant, smiling, sleeves rolled up, slightly dishevelled. Seeing him outside of engineering and in a domestic setting was strange, but also interesting; it was a whole other side of him, that she would otherwise have never gotten to witness. For a reason she couldn’t explain, she found herself unable to look away. Sergei eventually noticed her, and grinned up at her. “He likes the beard.” She nodded. “Me, too.” The phone ringing in the kitchen gave her the perfect opportunity to flee after this slightly too spontaneous compliment. Christ. What was she thinking?

I wish to tag @sparkleplatypuswriter @gabolange @tiltedsyllogism @gordopickett @katesofheaven @caffeinatedcrab

and anybody who would like to do it (if you're reading this but you don't watch FAM it includes you! Join the fun!) (if you do watch FAM consider yourself tagged to the moon and BACK)

[the-garbanzo-annex-jr]

Hamas’ Doctrine of Indiscriminate Cruelty & Barbarism

To understand Hamas’ battle ethics, one of the key documents is The Warrior’s Guide: Jihadi Version, an eight-page booklet that was recovered from the body of a dead terrorist following Hamas’ barbaric October 7 invasion of southern Israel.

This manual, which was first brought to light by Israeli President Isaac Herzog during a CNN interview, contained a detailed chart on the IDF’s hierarchy, in-depth analysis of the Israeli military’s arms and technology, as well as step-by-step instructions for taking Israeli hostages.

Included in the nine-step process were directions on how to assert control over the captives using threats, electric shocks, gunfire, and incapacitating grenades, the killing of hostages when necessary, and the use of hostages as human shields, regardless of their gender, age, or ethnic identity.

This barbaric guide is rooted in Hamas’ chief ideological documents, its 1988 charter which calls for a “struggle against the Jews” and its 2017 declaration of General Principles and Policies, which asserts that resistance against Israel “with all means and methods is a legitimate right guaranteed by divine laws and by international norms and laws” (emphasis added).

Thus, between Israel’s efforts to reduce civilian casualties and Hamas’ flagrant use of both Israeli and Palestinian civilians as pawns for their own nefarious purposes,  it is clear that the values imparted by the IDF’s and Hamas’ texts are being fully expressed by each side on the battlefield.

[oldschoolfrp]

Procyon lorica trivides fayadii is a well known Daukokuan animal, a fairly intelligent nocturnal gatherer and burrower like the racoon, but with three eyes. It takes well to captivity, but recent experience suggests it can react badly to consumption of the plant Deep Ginger, quickly becoming addicted and morphing into a much larger, ravenous form. (AC Farley, from "Devil in the Dark," Pete Rogan's scenario for the sci-fi RPG 2300 AD, the second edition of Traveller: 2300, in GDW's Challenger magazine 36, 1988)

[lapetitemortarts]

Le chapeau fleuri 1988 óleo sobre tela, cm 65×65

La obra "Le chapeau fleuri" de Claudio Bonichi, creada en 1988 mediante óleo sobre tela con dimensiones de 65x65 centímetros, nos sumerge en un escenario intrigante y lleno de simbolismo. En esta pintura, se presenta una hermosa mujer desnuda, cuya mitad del cuerpo emerge de una bañera, dirigida hacia el espectador con una mirada penetrante y enigm��tica.

El foco principal de la composición es el sombrero de paja que lleva la mujer, adornado con una rosa y otras flores, rodeado por un pañuelo que añade un toque de elegancia y misterio. Además, la mujer sostiene una pipa en una mano, estratégicamente colocada para tapar sus senos, lo que sugiere un juego de ocultamiento y revelación.

Sin embargo, lo más llamativo de la obra es la máscara que la mujer sostiene con la otra mano, colocada sobre sus ojos y mirando directamente al espectador. Esta máscara añade una capa adicional de enigma y teatralidad a la escena, invitando al espectador a reflexionar sobre la naturaleza de la identidad y la apariencia.

La técnica detallada y cuidadosa de Bonichi resalta la belleza de la mujer y la textura de la bañera, creando una atmósfera íntima y cautivadora. "Le chapeau fleuri" es una obra que despierta la imaginación y las emociones del espectador, revelando la habilidad del artista para crear piezas cargadas de simbolismo y significado.

© {AM

---------------------

English

Le chapeau fleuri 1988 oil on canvas, cm 65×65

The work "Le chapeau fleuri" by Claudio Bonichi, created in 1988 in oil on canvas with dimensions of 65x65 centimeters, immerses us in an intriguing scenario full of symbolism. In this painting, a beautiful nude woman is presented, whose half of her body emerges from a bathtub, directed towards the viewer with a penetrating and enigmatic gaze.

The main focus of the composition is the straw hat worn by the woman, adorned with a rose and other flowers, surrounded by a scarf that adds a touch of elegance and mystery. In addition, the woman holds a pipe in one hand, strategically placed to cover her breasts, suggesting a game of concealment and revelation.

However, the most striking feature of the work is the mask the woman holds in her other hand, placed over her eyes and looking directly at the viewer. This mask adds an additional layer of enigma and theatricality to the scene, inviting the viewer to reflect on the nature of identity and appearance.

Bonichi's detailed and careful technique highlights the beauty of the woman and the texture of the bathtub, creating an intimate and captivating atmosphere. "Le chapeau fleuri" is a work that stirs the viewer's imagination and emotions, revealing the artist's ability to create pieces charged with symbolism and meaning.

© {AM

[russianperioddrama]

Welcome to the Russian Period Dramas Bracket everyone! The order of things will look something like this:

Polls will start posting tomorrow. One group (A, B, C, D) will be posted per day, starting with Group A. Polls will run for a week. Once all polls for a round close, polls for the following round will begin posting within 24-48 hours (depending on mod availability). You may send in asks with “propaganda” if you wish.

Round 1 matches are listed out below for a full text version. Note that titles are listed in the format: English tittle (official/”official”* or translated) | transliterated title. (*There are occasionally some variations in what is the “official” English title. I tried my best here, usually prioritizing what is used by a major streaming service or wiki).

GROUP A

Ekaterina: The Rise of Catherin the Great | Ekaterina (2014) vs. Pushkin: the Last Duel | Pushkin: Poslednyaya duel (2006)

The Barber of Siberia | Sibirskiy tsiryulnik (1998) vs. Tchaikovsky's wife | Zhena Chaikovskogo (2022)

The Duelist | Duelyant (2016) vs. Life of a Mistress | Volnaya gramota (2018)

Catherine the Great | Velikaya (2015) vs. Poor Nastya | Bednaya Nastya (2023)

Detective Anna | Anna – detectiv (2016) vs. Gardes-marines Ahead! | Gardemariny, vperyod! (1988)

Bloody Lady | Krovavaya Barinya (2018) vs. Institute For Noble Maidens | Institut blagorodnykh devits (2010)

Union of Salvation | Soyuz spaseniya (2019) vs. Star of Captivating Happiness | Zvezda plenitelnogo schastya (1975)

Russian Ark | Russkiy kovcheg (2002) vs. Poor Poor Paul | Bednyy bednyy Pavel (2003)

GROUP B

The Silver Skates | Serebryanyy konki (2020) vs. Sins of Our Fathers | Grekhi ottsov (2004)

Bezsonov (2019) vs. Voskresensky (2021)

Sunstroke  | Solnechnyy Udar (2014) vs. The Fall of the Empire | Gibel imperii (2005)

Matilda (2017) vs. Gloomy River | Ugryum-reka(2021)

The Road To Calvary  | Hozhdenie po mukam (2017) vs. How the Steel Was Tempered | Kak zakalyalas stal (1973)

Admiral (2008) vs. Quiet Flows the Don | Tikhiy Don (2015)

Morphine | Morphiy (2008) vs. Battalion | Batalyon (2015)

Rasputin | Grigoriy R (2014) vs. Christmas Trees 1914 | Yolki 1914 (2014)

GROUP  C

War and Peace | Voyna I mir (1966) vs. The Queen of Spades | Pikovaya dama (1982)

Pechorin (2011) vs. A Hero of Our Time | Geroy nashego vremeni  (2006)

Eugene Onegin | Yevgeny Onegin (1959) vs. A Cruel Romance | Zhestokiy romans (1984)

Gogol (2017) vs. The Idiot | Idiot (2003)

Anna Karenina: Vronsky’s Story | Anna Karenina. Istoriya Vronskogo (2017) vs. Anna Karenina (2009)

Crime and Punishment | Prestuplenie i nakazanie (2007) vs. Brothers Karamazov | Bratya Karamazovy (2009)

Fathers and Sons | Ottsy i deti (2008) vs. Lady Into Lassie | Baryshnya krestyanka (1995)

Two Women | Dve zhenshchiny (2014) vs. The Emperor’s Love | Lyubov imperatora (2003)

GROUP D

Sophia (2016) vs. The Youth of Peter the Great | Yunost Petra (1980)

Furious | Legenda o Kolovrate (2017) vs. Alexander: The Neva Battle | Aleksandr. Nevskaya bitva (2008)

Viking (2016) vs. Iron Lord | Yaroslav: Tysyachu let nazad (2010)

The Terrible | Groznyy (2020) vs. Tsar (2009)

Godunov (2018) vs. Schism | Raskol (2011)

Land of Legends | Serdtse Parmy (2022) vs. Golden Horde | Zolotaya Orda (2018)

Conquest | Tobol (2019) vs. Secrets of the Palace Revolutions | Tayny dvortsovykh perevorotov (2000)

Elizabeth | Elizaveta (2022) vs. Cathedral | Sobor (2021)