#lucca c&G

[wisesnail]

Just because I'm chilling at Lucca Comics & Games doesn't mean that I can't finish what I started! <;

I hope you like this humble offering 💙

Prints and other stuff on my RedBubble and Threadless

[wonder-worker]

The career of Bertha, daughter of Lothar II [and Waldrada], reveals that women were not simply passive bystanders in the politics of the period. As the transmitter of legitimacy through blood, she was in fact a key player. [...] She was considered a major force in Italian politics, and her political aspirations may have extended much further than the Tuscan region or even the kingdom of Italy.

-Patricia Skinner, "Women in Medieval Italian Society, 500-1200" / Daniel G. König, "Bertha of Tuscany's Correspondence with al-Muktafī bi-llāh in the Version of Ibn al-Zubayr."

[Bertha of Lotharingia was] an ambitious and politically successful female member of the Carolingian elite. The daughter of Lothair II of Lotharingia, she was born around 860 or 865. Married before 880 to count Theobald of Lorraine, she shared her husband’s exile in Arles, where he had sought refuge with Boso, the King of Provence (r. 879–887) after the latter’s brother Hugo had attempted to conquer Lorraine. She bore him four children who were to attain influential positions in a region spanning southern France and northern Italy.

When Theobald died around 887, Bertha married the margrave Adalbert II of Tuscany (r. 885–915). Adalbert’s family had much property in Provence, carried the epithet dives and led a lavish court life in Lucca. […] Theo Kölzer described Adalbert’s policy as

“characterised by a skilful manoeuvring between the individual candidates for the royal and imperial crowns, which he played off against each other for the sake of his own advantage, always taking care that the autonomy of his margraviate and his quasi-royal position did not suffer any damage in the turmoil of the time.”

Adalbert’s policy involved reacting to the ambitions of margrave Guido II of Spoleto, his son Lambert, margrave Berengar of Ivrea, duke Arnulf of Bavaria, and King Louis of Provence, all of whom aspired to the crown of Italy between the end of the ninth and the beginning of the tenth century. Adalbert II and Bertha first sided with Guido II and his son Lambert against Berengar, thus ensuring that Guido was crowned King of Italy in 889 and emperor in 891, his son Lambert becoming royal and imperial co-regent in 891 and 892 respectively. The couple’s support for Guido and Lambert expressed itself in the fact that their two sons were christened Guido and Lambert between 891 and 894. Adalbert tried to impede Arnulf of Bavaria from interfering in Italian affairs in 894, but then turned against Lambert by cooperating with Berengar of Ivrea between 896 and 898. If we believe Liutprand of Cremona, it was around 898 that Adalbert tried to become king of Italy himself.

Around 900, Adalbert and Bertha supported the aspirations of King Louis of Provence to become emperor, possibly in the hope that Bertha’s son Hugo would thus be able to become King of Provence instead. When Hugo’s promotion failed to materialise, the couple turned against Louis, first by not impeding, then by actively supporting Berengar in his conflict with Louis. In this period, the couple already exerted enormous influence in Italy: the anti-pope Sergius III (sed. 898 and 904–911) had sought refuge with Adalbert and, according to Liutprand of Cremona, was “made pope by Adalbert” (papa per Adalbertum constituitur) in 904. In this year, the couple felt strong and independent enough to begin dating their documents according to their own regnal years. When Louis was eventually captured and blinded by Berengar in 905, he entrusted Bertha’s son Hugo—count of Vienne and Arles, duke and margrave of Provence—with the government of Provence.

[During this time, Bertha has been identified the royal woman who most likely sent a letter with an embassy in c.906 to the Caliph of Baghdad, al-Muktafi, where she described herself rather grandiosely as "queen of all the Franks". First brought to light by Muhammad Ḥamīdullāh , it has been rigorously studied and re-examined by historians. According to Daniel G. König: '...it becomes impossible to presume with Ḥamīdullāh that Bertha was a woman without political ambition who offered her hand in marriage to the caliph to escape her allegedly weak and unsuccessful husband [...] Rather, it becomes conceivable that Bertha could have developed a foreign policy strategy that looked beyond Italy and Byzantium and as far as Aġlabid North Africa. When she eventually understood that the Aġlabids were nominally subjected to the ʿAbbāsid caliphate, she looked eastwards to ʿAbbāsid Iraq. If there was a marriage proposal at all, she may have wanted to offer one of her daughters to the caliph, as François Bougard suggested [...] Bertha’s son Hugo (r. 903–947) certainly pursued a Mediterranean strategy as soon as he became king of Italy in 926. His intensive relations with Byzantium are recorded by the emperor Constantine VII Porphyrogenitus, his complex relations with the “raider colony” of Fraxinetum by Liutprand of Cremona. According to Ibn Ḥayyān (d. 468/1076), he approached the caliph ʿAbd al-Raḥmān III of Córdoba in 328/939–940 with the demand of a “security guarantee for merchants of his territory that travel back and forth between there and al- Andalus.” It does not seem far-fetched to assume that Hugo’s mother had already begun to think in the same lines of securing the Tyrrhenian Sea for Tuscany and of expanding the region’s security and economic purview.']

In 906, the year in which Bertha is said to have sent her letter to the ʿAbbāsid caliph, Louis of Provence had retired from the competition for the imperial throne, whereas Adalbert and his wife were confronted with the imperial ambitions of Berengar of Ivrea, which they opposed by blocking the Apennine pass leading him to Rome. Bertha seems to have been strongly involved in containing Berengar. That she wielded power at the side of her husband is evident from her correspondence with the archbishop of Ravenna. Germana. Gandino proposed that, in the contest with Berengar, Bertha was able and willing to present herself as a descendant of Charlemagne, as heiress of the Carolingian dynasty in Italy, and thus as a legitimate alternative candidate to the imperial throne. While this may seem unconceivable at first sight, we should consider that her husband Adalbert II did not have an equally prestigious pedigree and, by 906, had receded into the background politcally. Bertha’s quest for power also seems to have prompted contemporaries such as Liutprand of Cremona to harshly polemicize against her in particular and against women striving for power in general. Gandino believes that Berta may have even called herself “basilissa” (Βασίλισσα) in her letter to al-Muktafī bi-llāh, thus seeking imperial recognition from a foreign leader in a time, in which she—not her husband—formulated a claim to the imperial throne.

Bertha’s activities in the period after writing the letter demonstrate that she occupied an important political position in a region spanning the Provence in the west, Ivrea in the north, and Tuscany in the south. Still confronted with the imperial ambitions of Berengar when her husband died in 915, she installed her son Guido as margrave of Tuscany with herself acting as regent and married her daughter to the margrave Adalbert of Ivrea after his wife’s death. When Berengar chased Adalbert from Ivrea and arrested Bertha and Guido in Mantua between 919 and 920, she still managed to prepare the ground for her son Hugo. He was to become King of Italy in 926, shortly after Berengar’s assassination in 924 and Bertha’s death in 925."

[docescene]

Brazilian genderneutral names

List of names to inspire your genderneutral Brazilian characters. These are not necessarily Portuguese names, but they sound like or are quite common in Brazil due to the country's rich cultural diversity. Some are even considered common nicknames for certain gendered names (source).

More names!

Letter A

Adri

Aimé / Aimée / Aimê

Alcione / Alcíone

Alen

Alex / Alexi

Angeli / Angely / Angelic / Angelyc

Araci

Ariel

Aruanê

Letter B

Bardô

Bruné

Letter C

Cacá / Kaká

Calí / Kalí

Cari / Cary / Kari / Kary

Claude / Claudê

Cris / Chris / Kris

Letter D

Dane / Dani / Dany

Darci / Darcy

Dominique

Duda

Letter E

Elenir

Eli / Eri

Letter F

Félicité

Letter G

Gabi / Gabe / Gabeh

Gal

Giu / Gio

Letter H

Hikaru / Icaru

Letter I

Inaê / Inauê

Iraci / Iracir

Iuri / Yuri

Ivani / Ivanir

Letter J

Jaci

Jani / Jany / Janir

Jessé / Jessí

Josimar

Letter K

Kauane / Kauanê

Letter L

Leoni / Leonir

Lenir

Levi / Levy

Lin / Lyn

Luca / Luka / Lucca / Lukka

Lucimar

Letter M

Mica / Micah

Letter N

Nadir

Nair

Naomi / Naomir

Nelly / Neli / Nelí

Nick / Nikki

Letter P

Paule

Letter Q

Querubim

Quinua / Kinua

Letter R

Rafa / Rafah / Rapha

Raoní / Raony

Remy / Remi

Renê / René

Rosimar

Rozir / Rosir

Letter S

Sidney / Sídnei / Sidinei

Letter T

Tainã

Tarcil

Tauane / Tauanê

Tiê

Letter U

Ubirani

Uri

Urias

Letter V

Valdeci / Valdecir

Valderes

Letter Y

Yudê / Yude / Yudi

Letter Z

Zani / Zanir

Zeli / Zelir

Zuri

[classicalmusicdaily]

In a conversation with ADELINA DIACONU, MATTEO MEZZARO talks about his experience on stage, his favorite roles, which artists influenced his development in the last years and also about the difficulties he had to deal with while performing. Being a very special voice, he manages to combine very well baroque technique and belcanto repertoire. If you want to know how you can have the best of both worlds, you should definitely read this interview! Graduated in renaissance singing, organ and composition, the tenor Matteo Mezzaro is also a specialist in baroque and romantic opera. He studying operatic repertoire with the tenor Sergio Bertocchi. He performs in many concerts and opera production under the guidance of such prestigious baton as Z. Metha, M-W Chung, V. Galli, D. Oren, F.I.Ciampa, J. Begnamini, P. Auguin, O. Dantone, G. Leonhard, C. Hogwood, T. Koopman, M. Radulescu, F.M. Bressan, Jordi Savall, F.M. Sardelli, G. Bisanti, G. Ferro, etc.., and stage director like M. Znaniecki, V. Borrelli, D. Michieletto, D. Abbado, F. Micheli, G. Salvatores, P. Pizzi, I Stefanutti, D. Krief, etc… Especially at the beginning of his career, he performed in many roles from barock opera repertoir as Demetrio in Purcell’s The Fairy Queen at Wielki Theater in Poznan, as Mitrane in Mayr’s Demetrio at Festival Opera Obliqua (first performance in modern times), as Mitridate in Vivaldi’s Il tigrane at Festival Opera Barga (LU) under the baton of Federico Maria Sardelli, as Uriel in Haydn’s Die Schöpfung at Festival de Santander, as Marchese della Conchiglia in Piccinni’s La Cecchina at Piccolo Festival of FVG, as Eurillo in Scarlatti’s Gli equivoci nel sembiante at Teatro dei Differenti di Barga. In a moment of his career he choosed to work much more with romantic repertoire. He performed roles like Nemorino in L’elisir d’amore at Teatr Manoel in La Valletta (Malta), Mozart in Korsakov’s Mozart e Salieri at Teatro Verdi di Pisa, Fracasso in Mozart’s La finta semplice for ASLICO, Conte Alberto in Rossini’s L’occasione fa il ladro in Teatro Verdi di Trieste, Don Ottavio in Mozart’s Don Giovanni in festival ASLICO and in Piccolo Festival of FVG, Tenore Italiano in J.Strauss’ Capriccio in Metz (France), Alfredo in Verdi’s La Traviata for Opus Lirica in San Sebastian (Spain),Tenore Guglielmo in Donizetti’s Le convenienze e inconvenienze teatrali in Pisa, Lucca and Livorno, Beppe in Donizetti’s Rita at the Tearo comunale of Treviso, Camille de Rosillon in Lehar’s La vedova allegra in the Teatro Lirico di Cagliari, Cassio in the G. Verdi’s Otello at the Gran Teatro la Fenice of Venice, Beppe in the Leoncavallo’s Pagliacci at the Teatro del maggio musicale fiorentino and Teatro Massimo of Palermo, Rinuccio in the G. Puccini’s Gianni Schicchi at the Teatro Filarmonico of Verona. Also active in symphonic and sacred field, he sang Mayr’s Requiem, J. S. Bach’s Gottes Zeit ist die allerbeste Zeit, Haydn’s Theresienmesse, Handel’s Messiah, Carolin Te Deum and Ode for S. Cecilia’s day, Mozart’s Requiem, Haydn’s Die Schöpfung, Listz’ Via Crucis and Missa Solemnis, Rossini’s Petite Messe Solennelle di Rossini, Britten’s Saint Nicholas, Stravinsky’s Oedipus Rex just to name a few. He made his role debut as Paolino in Cimarosa’s Il matrimonio segreto at Teatro Malibran in Venice in 2010. Ciao Matteo and thank you for accepting our invitation! I know that these days you are in the middle of several representations with L’elisir d’amore by Gaetano Donizetti, in which you sing a role loved by any lyrical tenor. Tell us, please, what does the music of Donizetti means for you and how do you feel returning at Teatro Lirico di Cagliari? First of all thanks for the invitation. It’s a pleasure for me to have this conversation with you and your special Magazine. As you said in this moment I’m singing Nemorino in Cagliari, one of the roles I always dreamed to sing. I feel comfortable singing Donizetti’s music because it is good for my voice. In this music my voice finds the right ground to express itself.

It’s also a pleasure to sing it here, in Cagliari, because it’s an opera house that believed in me from the beginning of my career. Tell us some details about this fresh production of E’elisir d’amore, conducted by Roberto Gianola and directed by Michele Mirabella, with performances between 4-15 March 2022. How was the collaboration with the cast and the team? How did you perceive the directorial concept? I already sang this role with M° Gianola, so it was a pleasure for me to meet him again in Cagliari. I felt very lucky. I have wonderful colleagues who are friends and singers I’ve already work with. We’re working as a real team and think my Nemorino has improved also thanks to the interaction with the other characters of the opera. Which is the guideline of Nemorino – your character? How did you conceive your role, guided by the stage director of the show? I haven’t a possibility to work directly with Michele Mirabella, the original director of the production, because this is its third revival. Anyway I put on stage all my ideas about Nemorino: he is shy, that’s why he can’t tell her the truth, but when he is drunk, after the trick of Dulcamara, he looses every control and he puts all his expectation on the “Elisir d’amore”. He is an interesting character to portray because he faces many obstacles during his evolution during the opera. Nemorino represents youth, energy and that’s because he needs a dynamic actor on stage. I think that maybe It’s more stressful his theatrical aspect than his vocal request. Matteo, which artists influenced your career in the last years? I am referring here also at conductors and stage directors, who, these days, have a major influence on a performance. Have you ever had any kind of difficulties with these two entities? In my career there are many artists who influenced me, but there is expecially one above all: Graham Wick. I worked with him on Don Giovanni. The most important training to enter totally in the plot was finding the different meanings of the text. As concerns the conductors I worked really good with Maestro Mariotti.  I also expressed him my admiration for the process of the rehearsals and his research of perfection. During the latest years the theatres have the necessity to product as much as possible and many times there isn’t time to deepen. Today, probably the music is not more important than visual aspects of the production, but It always depends on the sensibility of the artists that are involved in the creation. Your vocal category is very appreciated, but still very hard to maintain in it’s full capacity all the time. Have you ever had difficult moments, when you felt that your voice was on the wrong path, technically speaking? How did you overcome them? I don’t know if it’s possible to maintain the full capacity of the voice for the entire career, but I know, in my experience, that the knowledge of the body and the voice are probably the must important way to make a long career. I mean, a lifestyle without excesses (healthy food, good sleeping) and a daily practicing of technique, is fundamental to build a solid career. If you know what is dangerous for your voice, you know how to manage all the obstacles. You started at a young age to study music, you refined your training under the guidance of important masters, you graduated in renaissance singing, organ and composition, and today you are a specialist in baroque and romantic opera. How important are for you belcanto technique and belcanto repertoire? The belcanto technique is really important as a foundation for the voice’s health. When I sang Baroque and Renaissance repertoire, I worked expecially about the interpretation and the singing style. I started to study technique with Maestro Bertocchi, and after this experience, I can say that it’s really important to know all the possibility of your voice before choosing the repertoire. Did you ever consider to share the accumulated knowledge with the younger singers, at masterclasses or, maybe, in Music Universities?

Yes, I thought about that,  but at the same time I’m worried about the responsibility on the students’ voice. I believe that when you study singing, if you improve it’s not only thanks to the teacher. Singing is a process you have to do together with your teacher and it’s not certain you will be able to do it. But I would be ready and happy, If someone will ask me any advices, to share my experience. How do you see the future of opera perfomances, having in mind the situation and changes from these two years? The future has to be live performances,  I don’t believes so much in streaming performances or other virtual solutions. I think perhaps the theatres have to invest in new music works, always bearing in mind that the theatre must stay in touch with the society’s sensibility. The theatre can be only a laboratories and experimental world. The music and the performance has to bring the audience in a dream. What does it mean for you to be successful? For me, during these years, the most important objective is to survive and to have the possibility to continue to work and live thanks to this job. I feel It’s important to continue to improve myself: this means success for me. Can you share with us some of your future engagements? Is there any role or musical piece that you dream to sing, but you don’t have yet the opportunity? In the next months I will sing alongside the Opv (Orchestra di Padova e del Veneto): I’ll perform in different concerts “Davide Penitente” by Mozart and the Rossini’s Stabat Mater. My next opera productions will be this summer, La Traviata and Turandot at the Arena di Verona Opera Festival 2022. There are other projects that are not confirmed yet. I dream and I’m working on the possibility to sing the roles of  Duca di Mantova in Rigoletto, Edgardo in Lucia di Lammermoor, Gennaro in Lucrezia Borgia and in a next future Rodolfo in La Bohème. At the end of our interview, please tell us what is the most charming feature of opera? In my opinion Opera will have a future if we’ll continue to convey emotions to the audience. Sometimes, today, we work in a tight deadlines and we often go on stage not really sure. The audience has to be our first thought because without them we wouldn’t exist and our study-formation process too. Thank you, Matteo! In bocca al lupo! reposted from https://opera-charm.com/

[marauderjuggernaut]

Wrong material. I'll make it work anyway.

[serialtroller]

Breaking a bone before Lucca Comics it's the most frustrating thing I've ever experienced.

[figuresnfilms]

Toy News: Funko Exclusives for Lucca C and G 2021

Toy News: #Funko Exclusives for #LuccaCandG 2021

The Lucca C and G festival in Italy runs from 29th October until 1st November and Funko Europe have teamed up with Games Academy to bring 3 exclusive Funko products to the event this weekend. The Funko official stall will be in Stand PLZ422 in the Palazzetto dello Sport and they are bringing limited edition numbers of Bakugo with explosions from My Hero Academia as well as a flocked sitting…

[riunien]

Lucca C&G 2022! #howlsmovingcastle #sophie #calcifer #howl #howlpendragon #cosplay #cosplayer #prompt #fire #ghibli #luccacomics #luccacomicsandgames2022 #luccacg22 #luccacg #lucca (presso Lucca Comics & Games) https://www.instagram.com/p/CklYHurjTQsMGLBvGv5xm7QTvJ0kdDP5fGo06U0/?igshid=NGJjMDIxMWI=

[alisnmoon]

LOCATION && WITH WHOM : : GROUNDS W / ANYONE @gallagherstart​

The breeze on his exposed neck felt weird, nothing to shield it and act as a blanket, but he also found comfort in it. He felt lighter, literally, after cutting all of his hair off. Another connection broken between him and his brother, an even bigger part of their shared identity taken from them. And it made him feel good about himself, he felt better. Well, minus the bruise on his face from Caden Lucca but it was well deserved. Everything that led up to this moment was because Carmichael himself decided on it and no one else. Which also included him destroying both his phone and laptop with a bat. One hit, two, three; he was hitting the crap out of the two devices. Devices that belonged to his brother. The screen on the laptop was glitching and starting to crack, a smile slowly slipping onto his face at the sight. He only looked up as he noticed someone nearing him. “If you’re here to fight me--” Another swing as he looked back at his task at hand. “-- Do it later. I’m in the middle of something.” Another swing. “There’s also a line so you’ll just have to wait your turn.”

[void-galaxy-shenanigans]

Pick A Letter & Send An Ask

So...we have a lot of stories (some barely begun, some well in the works, one finished). I want to write something but need help getting inspired. So, if y'all would like to help us out...pick a title or letter, and send us an ask with a question or suggestion. I'll give you titles & keywords up top here, then at the bottom of the post you'll find a full description if you want to know more. I'm willing to post scenes, quotes, etc. if you ask nicely.

Thank you in advance!

~Lucca (he/him; protector, soother)

~~~

Our original stories:

((There will be descriptions &/or blurbs below))

A) Dawn Of Red Death

(keywords: LGBT, queer werewolves, vampires, magic)

B) ¿Don’t You Wanna Be The Villain?

(keywords: morality, questioning government & society, nonbinary main characters, "villain" with good morals (but questionable methods))

C) The Hidden Villain

(keywords: amnesia, enemies to lovers)

D) Nightstalker Fae’s Dream

(keywords: fae/faerie, sorcerer, gay lovers, immortal main characters, trickster, disguised)

E) Rising Into Heaven

(keywords: demon child MC, archangel MCs, adopted family)

F) When Destiny Falls

(keywords: forced villain, corrupt government, intentional child ab*se set up by government)

G) The Hero Who Can’t Speak

(keywords: semi-nonverbal/selective mute main character (hero), ableism, transgender (f2m) MC)

H) But We Could Be Immortal, Darling

(keywords: planned m*rder, prince + poor person, consent & respect, falling in love, betrayal)

I) Exposed To The Naïve, Never To The Clever

(keywords: fae, vampire, ancient beings, magic, theatre, hiding)

J) Banished To Freedom

(keywords: alternate dimensions, escaping ab*se/trauma, two main characters in one (it's complicated), magic, sentient planet, transphobic family, transgender MC(s))

K) The Runaways

(keywords: multiplicity system MC(s); magic; 'church vs cult' war; religious ab*se/trauma; first person POV)

L) Saving Hawthorne

(keywords: werewolf/lycanthrope + vampire hybrid; Gen Z fearless bean; injured "monster"; comfort; protecting one another; vampire vs werewolf clash)

M) Eclipse For Your Soul

(keywords: monster parent, normal child; adopted family; nonbinary main characters; first person POV)

N) Lightwing’s Journey

(keywords: ab*sive father; prophecy; first major project; escaping trauma)

O) The Final Symptom

(keywords: complete; depression & unalive; symptoms of depression; short story; nonbinary MCs/narrators; first person POV)

P) Hidden Healers Shatter

(keywords: multiplicity system main character(s), ab*sive childhood, first person POV)

Q) Correrina’s Guest

(keywords: alien main character; queer main cast; interplanetary travel; first person POV)

R) The Moment Death Became Rebirth

(keywords: faked death, new name, nonbinary main characters, closeted queer, self discovery)

~~

You can ask questions if you have any, &/or give us clues & ideas of scenes, character arcs, etc. you'd be interested to see based on what you know. Anything goes right now - we need ideas.

----

Descriptions:

(quotation marks indicates a blurb we already wrote; no quotations means we wrote it on the spot)

A) Dawn Of Red Death

“Witches, fae, werewolves, vampires and the like are in an all-out war with nonmagical folk (typical humans). The government sees profit in recreating the genes of their abilities and selling them to the nonmagical public, and exploiting the living magical community as pets or servants; the magical community doesn’t want to be cloned or enslaved. Normal everyday folk are scared of their power and potential and want them either locked up or dead; of course, magic folk prefer freedom. Many innocents have died and tensions are running high. Personal stakes are high. Cal saves Davide’s life, and Davide is thrust into a world he had no intentions of mingling with; but after some time spent talking to Cal and Nathan he finds something deep within himself and comes to the decision that the nonmagical folk shouldn’t win this war due to the dire consequences in place for the magical community. So it’s up to our gang of unlikely heroes to end the war for good.”

B) ¿Don’t You Wanna Be The Villain?

“The label “villain” is stuck on someone with questionable methods, but who fights for a good cause. The government is corrupt and greedy, and keeps sending unwilling soldiers to fight White Hawk for them. But White Hawk somehow keeps setting everyone they send free and sending them home...until they send a child to do their dirty work for them.”

C) The Hidden Villain

A crew of heroes has been battling their villain for a long time. During one of their fights, the villain hits the ground a little hard...and with total amnesia, doesn't remember who they are or why they're fighting. The heroes take care of the villain as they recover, & because he likes being taken care of he doesn’t tell them when he starts to remember things (past the point before he became a villain). The heroes find out more than they bargained for as he begins to trust them; that leaves them with a decision of what to do when he does remember, if he doesn’t immediately harm them.

D) Nightstalker Fae’s Dream

Inspired by a tune we heard: “Liar is my instrument, but humans strum their sweet guitar”

A particular type of fae called a Nightstalker gets lost in the human realm after escaping his abusers in the fae realm. Fae hunters are everywhere and Harley is in danger. After a couple years, he meets a sorcerer who doesn't want him dead and has no clue he's fae...and he falls in love. But eventually Azure finds out that Harley is fae, and he despises being lied to. Harley doesn't have much time to figure out if Azure fell too, and to win him back, before fear turns Azure's heart cold.

E) Rising Into Heaven

Tre is a little kid who just happens to be a demon. He escapes Hell by freeing an angel, but if he goes back he'll be in danger. Will the angels let him live, or will they refuse to trust a demon?

F) When Destiny Falls

The DESTINY team chooses a new infant to become the next villain as their current one gets older. But as he grows up, Phoenyx keeps responding differently than they expect, even into adulthood resisting the call of villainy. Meanwhile an academy trains five "heroes" to become egotistical warriors, with the expectation that they will eventually have to fight Phoenyx. When destiny (& the government) calls, will you bend to its will, or will you write your own story & let destiny fall?

G) The Hero Who Can’t Speak

A hero who never speaks intrigues his fans. Most are convinced he's mute or deaf, because no one has heard him speak and he seem to know how to read lips and knows some sign language. It's all speculation...until he finally speaks.

H) But We Could Be Immortal, Darling

“Three low-life thieves makes a plan: one of them (whomever is deemed likeable) woo the crown prince Willow, bide their time, marry him, and when he becomes king, kill him (puts one of them on the throne to pardon all of the others’ crimes). But their pet gets chosen instead - a shy undiscovered queer who wants nothing to do with their plan. They assume he’s afraid enough to cooperate, but while he dates and tries to woo the prince he ends up falling in love. Will their love win, or will Robyn’s fear?”

I) Exposed To The Naïve, Never To The Clever

“An ancient fae, Napoléon, has safely hidden in various theatre crews for a century, moving on as soon as suspicions about his age arise. Everyone he's been exposed to has been naïve & easily convinced that his magic was simply a theatre trick….that is, until an ancient vampire from the same generation, Romulus, joins Napoléon's new theatre. Napoléon has only been exposed to the naïve, and unless they can convince Romulus to keep a secret they might be in real danger for once. These traumatized ancient beings may be each other's end….or each other's eternal love.”

J) Banished To Freedom

- A mafia is experimenting with alternate dimensions; they’re open about this in one dimension & quiet about it in another. Corbyn is from Fade Dimension where they’re open about it. Chance is from Rune Dimension where they’re quiet.

- Banishing Corbyn to Rune Dimension basically blends Corbyn & Chance into one person? one ish person who has memories & emotions from both dimensions, responds to both names, etc.; this can’t be undone once it’s done & leaves them as /essentially/ (sort of) the same person even though they’re different

“Corbyn is tired of living in his universe where everyone is cruel to him…so he takes a huge risk that his father wasn't lying about sending him away and that the magicless universe will be a safe place to hide.

Chance finally got away from his abusers, only to be found again. He'll need a miracle to survive…or a little magic.”

K) The Runaways

Forrest is finally free; he's escaped the cult's grasp and gone on the run. He takes a risk to go into a quiet house to hide....and discovers the Still System. Forrest breaks down crying and unintentionally trips their host Benjamin into front, who decides to not let him fall back into cult hands.

L) Saving Hawthorne

Hawthorne stumbled across the right place to be injured, entirely on accident. Fearless Gen Z rebel Ever rescues the injured monster from crawling up the staircase again and hushes his sobs, not realizing this will launch him into the midst of a war between vampires & lycanthropes. Hawthorne runs away as soon as he can, but Ever has already been noticed. This puts them in danger, which draws Hawthorne back to save his new friend.

M) Eclipse For Your Soul

Samandrael eats souls and drives any human who views its true form mad...until one traumatized little kid doesn't go mad. Samandrael performs his first act of selfless benevolence, and destroys Eclipse's abusive father. He adopts the kid and brings him home. No one understands why this monster would rescue a child and assumes fae kidnapped him. But they simply found someone worth saving.

N) Lightwing’s Journey

((We began this at five years old & it's an ongoing piece. It was originally inspired by Warrior Cats, but became its own thing at some point & continues to expand as a universe and a story.))

Robin is miserable living with his father...so he launches an escape plan. After several failed attempts, he finally escapes his father's territory and slinks into hiding as the elusive Lightwing. It's there that he finds out his father's sinister plan for the other packs...and sets out to dismantle it as the prophecy foretold.

"One kit to wander the lands, see them all, and understand. One kit, light as a feather, to unite the lands and fight together! The darkness is coming, strong and swift, to blind them all and create a rift. One kit to rule all packs, unite them again, and destroy the dark one’s plans. One kit to bring them together, for light as a feather shall fly forever!"

O) The Final Symptom

“Some people find out the hard way that some illnesses are deadly. ~Aiden

An attempt to reframe su*c*de as a symptom of depression, rather than a failure. Not because losing someone to su*c*de isn't tragic, but instead because (from the perspective of someone who has depression) we wanted to show from our perspective that su*c*de is about losing the war to depression no matter how many battles you win, instead of a display of selfishness & lack of care about those around you. One of the symptoms of depression is that it makes you feel like a burden on your loved ones…a burden you feel the need to remove so they can be happy. So here is our understanding: The Final Symptom. ~Nico”

P) Hidden Healers Shatter

This is our understanding of becoming a system. The basic idea is, you're someone who wants to heal &/or realizes you need to heal in a household of people who refuse to, or don't realize they need to, heal...so you hide, and you stay multiple (viewed as "shattering") to survive.

Q) Correrina’s Guest

[unnamed MC alien]'s grandfather sold him to a much older, creepy man who doesn't respect anyone. [unnamed MC] ran to Earth hoping to escape his "husband", but Hayden ends up finding him anyway and kidnapping the person he fell in love with on Earth. So [MC] launches a rescue mission...and reconnects with the family he was forced to abandon in his search for safety.

R) The Moment Death Became Rebirth

Grey Morrison is tired of his boring, pampered CEO life. So he fakes his death to escape his job, his life, and his wife. What he finds on the other side as Trace Vera was more than he bargained for...and everything he desperately needed.

[spettriedemoni]

Josephine Yole Signorelli, in arte Fumettibrutti, ha fatto questo poster per la nuova edizione di Lucca Comics & Games.

Poiché il tema era il cambiamento ha tirato fuori quest'opera che potete vedere qui sopra.

Non starò a ricordare la storia di Josephine ma sappiate che per il suo manifesto è stata insultata pesantemente.

Questa vicenda come quella di Caivano ci impongono riflessioni e di non abbassare la guardia, basta leggere i commenti sotto il suo disegno sulla pagina ufficiale del Lucca C&G e gli stati di certi fumettisti (colleghi suoi, quindi) che la criticano molto coraggiosamente senza taggarla.

Il pregiudizio è molto duro da sradicare dalla mente delle persone, purtroppo.

[valentilly]

Redraw of an old photo 🥰

☆

☆

☆

Ecco una cosina che avevo in mente di realizzare da un po': rifare come illustrazione una vecchia foto (Ottobre 2013) che ritrae me e il mio compagno in cosplay, poco prima di andare a Lucca C&G.

50 punti a Tassorosso - non sono Silente, piuttosto una Scamander - a chi mi sa dire a quali personaggi cercavamo di fare riferimento (lui palese, io decisi di fare l'alternativa) 🐰🕰

♡

#redraw #photo #couple #outfit #cosplay #illustration #lovely #rabbit #clock #personalillustration

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[leonchiro]

LUCCA C&G 2019 Day 1 ⠀ — 𝙇𝙄𝙈𝙄𝙏 𝘽𝙍𝙀𝘼𝙆 𝙏𝙄𝙈𝙀🔥⠀ ⠀ Today I arrived in Lucca and it has been on fire with many back to back meet and greets and interviews! Despite the intense schedule, I never felt so good to be back home in Italy and have such a warm welcoming! Definitely the most precious reward I could ever dream of! ❤️⠀ ⠀ And tomorrow DIO will meet Araki! 🖤⠀ ⠀ #LuccaComics #LuccaCG19 #2K #LeonChiro #Borderlands3 #MyHeroAcademia #Cosplay #Guest #LineUp #Lucca (at Lucca, Italy) https://www.instagram.com/p/B4Q_kvdlg_W/?igshid=1q75mhf2km287

[cyg-art]

Well, this is going to be a bit of a blog post, so there’s my latest artwork in the first image for the ones who aren’t interested in any of my emotional walls of text.

Few days ago I had the chance to make one of my biggest dreams come true and meet Hirohiko Araki live here in Italy, at Lucca C&G. I had prepared this Jojolion drawing just for this occasion (reason why I kind of dropped inktober, sorry!) and gave it to a staff member, hoping it would reach Araki Sensei. No photos were allowed at the events so I can only post the official ones from StarComics (you can kind of see me in the fourth row on the left (also I guess this is my face reveal?))

I must thank the amazing boys and girls I met in Lucca, who made these few days even more special. I haven’t felt this happy in a long time and I’m so glad I could bond and share these memories (along the lines at 7am in front of the theater) with these wonderful people, being silly together without a care in the world.

Hope I’ll get to meet them all again sooner or later.

This was truely a Gold Experience.

[alexandralumetta]

Group photo! 

(This was one of the print I had at Lucca C&G)

[upennmanuscripts]

A Mineralogist’s “Sword in the Stone”

Fifty-two discoveries from the BiblioPhilly project, No. 19/52

   Choirbook, Italy (Siena?), c. 1300, Philadelphia, Philadelphia Museum of Art, 1883.53, fol. 247r and Neroccio de’ Landi, Panel with Saints Christina of Bolsena(?), Catherine of Alexandria, Jerome, and Galganus, c. 1470, Phipadelphia, Philadelphia Museum of Art, John G. Johnson Collection, 1917, cat. 1169 (detail of Saint Galganus)

Though the Philadelphia Museum of Art’s collection of Medieval and Renaissance manuscripts is best known for the lavish codices received from the Philadelphia collectors Philip S. Collins and Mary Shell Collins in 1945, it possesses two items that came to the museum much closer to the year of its foundation, 1876. At the time, the institution was known as the Pennsylvania Museum and School of Industrial Art, before being renamed the Pennsylvania Museum of Art in 1929 (it would only acquire its current name a decade later). The first item is a Dutch Prayer Book received in 1882 (accession number 1882‑983), with no known prior provenance. The other book, received the following year, is a hefty but largely unadorned choirbook given to the museum by Clarence S. Bement, a Philadelphia philanthropist best known for his unparalleled collection of rare minerals (now mostly preserved at the Museum of Natural History in New York)!1 At least four other books in the Bibliotheca Philadelphiensis project, including the famous Lewis Psalter, were once in Bement’s collection.

The Philadelphia Museum of Art choirbook is notably less lavish than other manuscripts owned by Bement, which is perhaps why he gifted it to the fledgling museum rather than selling it on through A.S.W. Rosenbach or another local book dealer. There are, however, some quite beautiful initials that are worth reproducing here. Each of these decorated letters makes use of the three primary colors.

While the style of the script and these penwork initials suggest Italian work of circa 1300 or a little later, the choirbook is liturgically fairly nondescript. Nevertheless, a short chant on the final folio, added early on in the book’s history on three extra blank staffs at the end of the volume (and a fourth added in drypoint), is dedicated to Saint Galganus. As with the rest of the volume, it accords roughly with a date of around 1300, and can be compared to examples such as a late-thirteenth-century Gradual from San Pantaleone, Pieve a Elici, near Lucca (Paris, Bibliothèque nationale de France, NAL 2605), listed in the Nota quadrata project.2 The text itself reads:

Ora pro nobis beate Galgane, ut digni efficiamur p[er]mi[s]/

sionibus Christi. evovae. Sancte Galgane confes/

sor Christi et conptemptor seculi deprecare Christum

famulos tuos et semp[er] esse devotos. evovae.

As far as I can tell, this is a unique prayer. It can be (roughly) translated into English as follows:

Pray for us, blessed Galganus, that we may be made worthy of Christ’s forgiveness. Holy Galganus, confessor of Christ, eternally entreat your servants to be devout to Christ.

The abbreviation “evovae” or “euouae,” used twice, is a notational device that occurs in Gregorian chant. It represents the musical setting of the vowels found in the words “saeculorum amen” at the end of the Gloria Patri doxology.

PMA, 1883.53, fol. 247r (detail of chant to San Galgano)

Galgano Guidotto (1148–1181), better known as Saint Galganus, was a young Tuscan knight who became venerated after his death on account of his spiritual visions. The most famous of these is associated with the tale of The Sword in the Stone. As his hagiography recounts, Galganus experienced a vision of Christ and the Twelve Apostles on the hill of Montesiepi. Following this event, he was compelled to erect a cross but had no suitable materials except for his sword. He thrusted his weapon into the ground, whereupon it became fused with the rock and impossible for anyone to remove. A round chapel was built around Galgano’s immovable sword, which still survives today. A large Cistercian monastery, today in ruins, was also erected nearby at the beginning of the thirteenth century. Galgano was widely venerated in the area around Siena in the thirteenth and fourteenth centuries, and many images record him holding his famous attribute.3 The specificity of Galgano’s cult helps narrow our localization of the PMA’s choirbook to the region around Siena.

Perhaps the book’s more recent owner, the mineralophile Bement, acquired the manuscript because he appreciated the potential link to that most lithic of myths, the Sword in the Stone.

   Domenico Beccafumi, Saint Galgano, 1511–1512, Siena, Pinacoteca Nazionale, and Saint Galganus’ Sword, Montesiepi province of Siena (detail)

The nave of the ruined Cistercian abbey of San Galgano, Montesiepi, province of Siena

  from WordPress http://bibliophilly.pacscl.org/the-sword-and-the-stone-and-the-quill/