alittlebitgoofy

[metalichotchoco]

Meows morales is my sweet baby angel son and I’ll kill everyone in this room and then myself if anything bad happens to him

[axl-ul]

Writeblr (Re)Introduction

Hello! After some time of being inactive, here's a small reintroduction from me:) And I also guess that this is the exact aesthetic I aimed for. Finally!

General info:

(Nick)Name: Axl-ul, but you can address me as Axl^^

Likes: Writing, reading, drawing, crochet, mythologies and folk stories, tea, doggos, cattos, battos (majority of animals that are fluffy)

Stuff I like to listen to: an ENORMOUS range that goes from og dubstep to chillstep to metal to edgy yeehaw dark country (among my fave artists are Bonobo, Nujabes, Burial, Hugo Kant, Sigmun)

Favourite movie: Noroi, The Vanished Empire

Favourite show: Mononoke (2009) it's actually an anime and yes I do consider it a show, Red Dwarf

Favourite book(s): The Witcher saga (Season of Storms was a little bit mid in comparison to the rest, still enjoyed it though), Solomon Kane, The Hobbit, Whiskey, Blood and Silver, The Warlock, Journey to the West (still reading it)

Favourite manga: anything by Junji Ito, Berserk

Favourite games: The Witcher trilogy, DreadOut, Condemned: Criminal Origin, TES V: Skyrim (also slowly getting into Oblivion), Sleeping Dogs, Darkwood, anything made by Fromsoftware (a fanboy)

Favourite genres: horror, mystery, (dark) fantasy, comedy

Favourite tropes: animal companion, found family, rivals to best friends

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Writer info:

Genres I write in: horror, mystery, dark fantasy inspired by world mythologies, dark comedy, my wips might have a touch of detective stories to them, too^^

Tropes I use(d): found family, animal companion, rivals to best friends, rivals to friends to lovers (used only once as I don't like romance that much, why it appears in my wips is a looong story), orphaned MC

POV: 3rd person, multiple POVs with main focus on 1 to 3 characters max

I tend to write in quite a flowery language and in poetic prose, but since English isn't my first language it can come across slightly awkward (TL; DR I do plenty of updates and edits to my posted stuff)

My wips are inspired and sometimes directly refer to a certain mythology, such as Slavic (this one is also most widely used as I like to read local legends of Serbia, Russia, the Czech and Slovak Republic, Ukraine, Poland and so on), Chinese, Nordic, Japanese and Indonesian. HOWEVER I love to create my own mythos and so the world is a blend of characters directly based of a mythological figure exploring environement both familiar and completely new to them. (I've always been intruiged by a question what would happen if world mythologies bumped into each other and what would be the consequences of it.)

My own mythos are pretty much eldritch-like oriented with a significant touch of folk horror. I'm not going to lie, I'm a FromSoftware fanboi, I see Bloodborn or Kuon, I'm going feral and so is my inspiration.

There are many occuring themes about substance abuse, addiction, health issues, gore, extreme violence, sexual assault/rape and other strongly 18+ stuff, so I'd appreciate if only 20+ y.o. people (or be at least 18, really) follow this account. In other words - PLENTY OF NSFW THAT'S NOT DIRECTED AND INTENDED FOR MINORS.

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WIPs

Not all from my wips have a proper introduction (a.k.a. there's no link for their Tumblr WIP intro). BUT I do plan on doing them, so expect the links to be updated. These are just quick summaries of them.

The Flight of the Western Crane - A dark retelling of Journey to the West where Sun Wukong tries to protect the young Buddhist monk Tang Sanzang while meeting a duo of a stranded Princess of the Great Tiger Kingdom and her foreign advisor Lady Wolf Witch. Their common journey starts out as an innocent one. However, it soon evolves into a dangerous chase where the Monkey King must face the worst of his opponents.

City of False Gods - Hybrid of wuxia, mystery and film noir genres set on a fabricated island near Hong Kong. The fiction evolves around the Monkey King who's, after his yet another imprisonment, woken up to a strange world of 1920s where his powers are under a radar by the local supernatural cop unit and is forced to live among the poorest while trying to solve strange happenings in the city. City of False Gods also serves as a sequel to The Flight of the Western Crane.

Empire of Dust - Historical dark fantasy with horror elements set in 330 Constantinople. The story follows two little sisters one of whom is considered neither dead nor alive. One day, Ulfrika sets out for a strange task in order to provide for her dear little sister. Her pure-hearted intention, though, may lead her down the rabbit hole which may devour her sanity.

Ratpeople - An outline idea for a standalone story involving Ulfrika and her time in the Wild West, where the soulless hybrid discovers an eerie town in the desert while chasing after a man who stole one of her horses. The story is related to weird western (mostly its horror and fantasy elements and no sci-fi stuff) and mystery genres and also mythology related things.

Boy Who Chased a Dragon - Another outline story outside the universe of The Legends of No-man's Land. The story takes place on an island of eternal summer and flower bloom, where mythical creatures live peacefully. One day, Dado* loses his pet dragon, a creature his sister gave him for his 8th birthday, in a harsh storm. Now, he sets out for a long journey to retrieve his best friend from the claws of the cruel Ember King.

*because this is still in a process of an outline/1st draft, I'm still not sure about the name, it's only a working name for the protagonist

[dizzycloudzzz]

Let's talk about Grom

With them in the epilogue phase

What if

It were a Masquerade Ball?

Cause it's cool and

Masked

Everyone arriving at the party in the University of Wild Magic with their fancy costumes

And let's use the ✨Miraculous: Tales of Ladybug & Cat Noir✨ effect and pretend no one can recognize someone with a mask

Luz would be courting Amity saying "hey, mrs. cotton-candy-haired goddess, will u grant me this dance? 😼" "sorry, I was waiting for my- oh, OH, yes, suddenly I have an urge to dance" and they pretend they don't know each other to have their romantic night, using cute code names like "Azura" and "Hecate"

Boscha put apple blood (this thing has alcohol 💀) in the punch just for the heck of it, she looks like a goth diva at this grom BTW

Willow is dancing among other witches

Dancing is what to do (to do)

Dancing's when I think of you (of you)

Dancing's what clears my soul (my soul)

Dancing's what makes me whole (me whole)

She's enjoying the vibe, POOR HER WITHOUT KNOW SHE IS GOING TO BE THE GROM QUEEN THIR YEAR 👹 anyway

Gus thought wearing just a mask would be silly so he decided to use illusion magic to actually be a new character, then Matt is flirting with Gus without knowing who he is (he knows... he definitely knows, don't tell anyone), Gus is enjoying every second, he thinks it's fun, his other name is Avery for a ✨Cosmic Frontier✨ reference

I dunno why I like the thought of Vee, Edric and Emira chilling together, but it's certainly canon (in my head)

And then there's Hunter, he's... He's being the wolf of the party.

Don't judge this guy, he gains a lot of confidence when he has a mask on, so imagine him getting on top of a table and suggesting a witches duel- DANCE BATTLE he meant, and then everyone clap and agrees with him cause if you look in a dictionary THIS MAN is the definition of "cool", or almost that

CALL HIM CALEB (YES HE'S CREATIVE AS HELL) AND MAKE ROOM ON THE DANCE FLOOR, HE IS GOING

Yeahhhhhhhhh I spent a lot of time thinking about one thing... One specific thing...

HUNTLOW DANCE GROM AND I'LL NEVER GET OVER THIS (EVEN CAUSE IT NEVER HAPPENED DAMN ☠️☠️☠️

I make animations just like my face (horrible but hardworking

WILLOW IS WITHOUT HER GLASSES SO SHE HAS NO IDEA WHO SHE IS DANCING WITH but she likes to imagine it's Hunter

Whether or not Hunter is a little shy and fakes a voice so that this one doesn't recognizes him (if she is who he's thinking she is), don't tell his secret, WHO'S HUNTER? IDK

[mask131]

Remember last time, when I posted about this excellent roleplaying guide, and shared various info about the French history of RPGs? Well I come back with more. Enjoy!

One of the big influences and helpers of the RPG genre in France was a series of books published by Folio Junior/Gallimard from the 1984 onward. This series was usually what introduced many people to the roleplaying game experience as a whole: and it is the line Un livre dont vous êtes le héros, "A book of which you are the hero". Thing is, this line actually gathered and united numerous English-speaking series into one whole. What I mean is that the French "A book of which you are the hero" (sometimes translated as "You are the hero") line wasn't just one translation, but a compilation of Fighting Fantasy (by Livingstone and Jackson), of Steve Jackson's Sorcery!, of Joe Dever's Lone Wolf, of James Herbert Brennan's Grailquest, and more...

Another game that deeply marked the early years of RPG in France was L'Oeil Noir, "The Black Eye". It is not an American game, however: it was a German game, Das Schwarze Auge, created by the Fantasy Productions group, itself founded by Ulrich Kiesow, Werner Fuchs and Hans Joachim Alpers. This game was created after the group had translated two American roleplaying games in German: D&D, of course, but also Tunnels & Trolls. Released in Germany in 1984, this game had a HUGE success in Europe, so much that it overshadowed the sales of D&D in some countries! In France, the game was notably purposefully sold in the same format and aesthetic as the Un livre dont vous êtes le héros - again, French folks wanted to give a cohesive look to all of these games.

The first two French RPGs were both flawed, but in opposite ways. The first one, L'Ultime Epreuve (The Ultimate Trial) was written by Fabrice Cayla and published by Jeux Actuels in 1983. It took place within a medieval fantasy setting (which even at the time felt a bit "recycled" and "already seen") and was about adventurers (the players) fighting various monsters while gaining power and strength, to finally vanquish the creatures that guard the gates of the Valhalla - it is the "ultimate trial" of the title. And then... That's it. The game is over. This game was very simplistic - too simplistic - but one of its originalities relied in its system of experience point. Or rather its absence of XPs: to have characters evolve, the players needed to spend money during "training sessions".

The other "primal RPG", Légendes, was created by a collective of five authors - Stéphane Daudier, Marc Deladerrière, Philippe Mercier, Jean-Marc Montel and Guillaume Rohmer. Published by Descartes in 1983, it is sometimes referred to as "Légendes celtiques" - which is actually incorrect... "Celtic Legends" was only the world-setting offered with the basic set/starting box - but it is just one possibility among many (the line also includes "Légendes des Milles et Unes Nuits" for an Arabian Nights setting ; and "Légendes de la Table Ronde" for an Arthurian setting). However, this game was far too complex: its rules were very heavy and very convoluted, and so the game was not fit for beginners. In fact, Descartes, understanding this, published in 1987 a lighter, simplified version called "Premières Légendes" (First Legends)

In 1985 was published Denis Gerfaud's Rêve de Dragon (Dragon's Dream). Described as an "oniric fantasy" game, this RPG is a strange and fascinating experience where each new adventure plunges the players in an entire new world, created out of the dreams of dragons. Every character was dreamed up by a dragon, and if they die during a game session, their "archetype" will be rencarnated under a new shape once the dragon goes back to sleep. The game ingenuously uses the symbolism of the Zodiac, the Tarot cards and more for its playing system. Gerfaud managed to create a very inventive, very poetic but also quite humoristic game. The first edition of the game was notably illustrated by Bernard Verlhac (aka Tignous), who was unfortunately murdered during the Charlie Hebdo terrorist attack... Dragon Dream was a real "author game" where Gerfaud showed his talents as a writer, but it suffers from quite austere rules, definitively coming from the 80s, and which "chain" the dream rather than encourage the players' imagination... The problem was solved when a simplified version of the game was released in 2001, called Oniros. More recently, the game had a luxury re-edition at the Scriptarium editions, in 2018. As for Denis Gerfaud, he published only one other RPG, just as innovative and strange: Hystoire de fou, in 1998.

Christophe Réaux, alias "Croc", is another French author of RPGs. He first self-published games under the label Futur Proche. He created Bitume, about a post-apocalyptic world a la Mad Max, half-destroyed by the Halley comet ; and then Animonde, a poetic fantasy universe where all weapons and all technologies have an animal origin. Croc was quickly hired by the team of the Siroz Productions to create a game. Siroz Productions was founded by two members of a roleplaying circle of the Viroflay town (Parisian region) known as the "club 20 naturel" (nat 20 club), Nicolas Théry and Eric Bouchaud - a club to which Christophe Réaux belonged. Siroz Productions started out as a minor editor named "Théry-Bouchaud et Cie", but became quite famous due to its games relying on very strong, very contextualized concepts, and satirical humor - tackling issues such as the decay of suburbs, evolutionism, totalitarism, the misuse of ideologies and other futuristic predictios: Zone, Silrin, Whog Shrog, Berlin XVIII...

The game Croc and Siroz created was In Nomine Satanis/Magna Veritas. This game of biting humor is about the players embodying angels and demons infiltrated among humanity, and waging there a secret war for either heaven or hell... Except, as it turns out, both sides use the same methods and the same tactics. Unfortunately, Siroz found itself in a bad situation right before the game's release: drowned in debts, about to close, to survive the publishing house had to agree to the involvment of new investors, and a full restructuration. Siroz Productions became Idéojeux, under the leadership of Marc Nunès. It was under Idéojeux that INS/MV was first published - inaugurating a long line of RPGs written by Croc. Heavy Metal, Bloodlust, Scales, Nightprowler, COPS... Later, Idéojeux renamed itself Asmodée... From the name of the Demon Prince of Gaming within INS/MV, Asmodeus. While the society has gone away from the RPG world, it still forms today one of the big players within the French game industry - in fact, even within the international world of games! Since not only did they buy several French publishing houses (such as Descartes), but they also recently absorbed the American editor Fantasy Flight Games...

While it is quite rare, sometimes French RPGs are brought over to the United-States! It was the case with In Nomine Satanis/Magna Veritas, which in 1997 was published by Steve Jackson Games under the title In Nomine. However it wasn't a translation, but an adaptation: rewritten by Derek Pearcy, the American game is much darker, less serious and less parodic than the French game. The second edition of Rêve de Dragon was translated in English in 2002, under the title Rêve: The Dream Ouroboros.

I'm jumping a lot of things, because this book has so much info... But there is a cover about the "renewal" or "renaissance" of the RPG game from the late 2000s onward. It contains a brief segment about France. Among the numerous new editors that popped up during this "shifting era", when the old generation of gamers left the ground for a new, younger one, one famous is the Black Book Editions, created in 2004 in Lyon, and currently one of the biggest French editors of games. They are behind the French creations of Pavillon Noir, Chroniques oubliées, Polaris, and Héros & Dragons ; but they also are the ones in charge of bringing to France the American monsters that are Pathfinder, Shadowrun, and even (for a brief time) D&D5. The other emblematic editor of this era was Sans-Détour, created in 2008, which became the new French publisher of Call of Cthulhu and helped "renew" it and give it a "younger", "fresher" energy (unfortunately Chaosium removed the license from Sans-Détour in 2018 due to a case of unpaid royalties). A third unmissable name would be Le 7e Cercle, with a diverse and memorable catalogue including games such as Qin, Yggdrasill or Carpharnaüm.

[timeless-hollywood-classics]

Ida Lupino (4 February 1918 – 3 August 1995) was an English-American actress, singer, director, and producer. She is widely regarded as the most prominent female filmmaker working in the 1950s during the Hollywood studio system. With her independent production company, she co-wrote and co-produced several social-message films and became the first woman to direct a film noir with The Hitch-Hiker in 1953. Among her other directed films the best known are Not Wanted about unwed pregnancy (she took over for a sick director and refused directorial credit), Never Fear (1949) loosely based upon her own experiences battling paralyzing polio, Outrage (1950) one of the first films about rape, The Bigamist (1953) (which was named in the book 1001 Movies You Must See Before You Die) and The Trouble with Angels (1966).

Throughout her 48-year career, she made acting appearances in 59 films and directed eight others, working primarily in the United States, where she became a citizen in 1948. As an actress her best known films are The Adventures of Sherlock Holmes (1939) with Basil Rathbone, They Drive by Night (1940) with George Raft and Humphrey Bogart, High Sierra (1941) with Bogart, The Sea Wolf (1941) with Edward G. Robinson and John Garfield, Ladies in Retirement (1941) with Louis Hayward, Moontide (1942) with Jean Gabin, The Hard Way (1943), Deep Valley (1947) with Dane Clark, Road House (1948) with Cornel Wilde and Richard Widmark, While the City Sleeps (1956) with Dana Andrews and Vincent Price. and Junior Bonner (1972) with Steve McQueen.

She also directed more than 100 episodes of television productions in a variety of genres including westerns, supernatural tales, situation comedies, murder mysteries, and gangster stories. She was the only woman to direct an episode of the original The Twilight Zone series ("The Masks"), as well as the only director to have starred in an episode of the show ("The Sixteen-Millimeter Shrine").

Lupino was born in Herne Hill, London, to actress Connie O'Shea (also known as Connie Emerald) and music hall comedian Stanley Lupino, a member of the theatrical Lupino family, which included Lupino Lane, a song-and-dance man. Her father, a top name in musical comedy in the UK and a member of a centuries-old theatrical dynasty dating back to Renaissance Italy, encouraged her to perform at an early age. He built a backyard theatre for Lupino and her sister Rita (1920–2016), who also became an actress and dancer. Lupino wrote her first play at age seven and toured with a travelling theatre company as a child. By the age of ten, Lupino had memorised the leading female roles in each of Shakespeare's plays. After her intense childhood training for stage plays, Ida's uncle Lupino Lane assisted her in moving towards film acting by getting her work as a background actress at British International Studios.

She wanted to be a writer, but in order to please her father, Lupino enrolled in the Royal Academy of Dramatic Art. She excelled in a number of "bad girl" film roles, often playing prostitutes. Lupino did not enjoy being an actress and felt uncomfortable with many of the early roles she was given. She felt that she was pushed into the profession due to her family history.

Lupino worked as both a stage and screen actress. She first took to the stage in 1934 as the lead in The Pursuit of Happiness at the Paramount Studio Theatre.[10] Lupino made her first film appearance in The Love Race (1931) and the following year, aged 14, she worked under director Allan Dwan in Her First Affaire, in a role for which her mother had previously tested.[11] She played leading roles in five British films in 1933 at Warner Bros.' Teddington studios and for Julius Hagen at Twickenham, including The Ghost Camera with John Mills and I Lived with You with Ivor Novello.

Dubbed "the English Jean Harlow", she was discovered by Paramount in the 1933 film Money for Speed, playing a good girl/bad girl dual role. Lupino claimed the talent scouts saw her play only the sweet girl in the film and not the part of the prostitute, so she was asked to try out for the lead role in Alice in Wonderland (1933). When she arrived in Hollywood, the Paramount producers did not know what to make of their sultry potential leading lady, but she did get a five-year contract.

Lupino starred in over a dozen films in the mid-1930s, working with Columbia in a two-film deal, one of which, The Light That Failed (1939), was a role she acquired after running into the director's office unannounced, demanding an audition. After this breakthrough performance as a spiteful cockney model who torments Ronald Colman, she began to be taken seriously as a dramatic actress. As a result, her parts improved during the 1940s, and she jokingly referred to herself as "the poor man's Bette Davis", taking the roles that Davis refused.

Mark Hellinger, associate producer at Warner Bros., was impressed by Lupino's performance in The Light That Failed, and hired her for the femme-fatale role in the Raoul Walsh-directed They Drive by Night (1940), opposite stars George Raft, Ann Sheridan and Humphrey Bogart. The film did well and the critical consensus was that Lupino stole the movie, particularly in her unhinged courtroom scene. Warner Bros. offered her a contract which she negotiated to include some freelance rights. She worked with Walsh and Bogart again in High Sierra (1941), where she impressed critic Bosley Crowther in her role as an "adoring moll".

Her performance in The Hard Way (1943) won the New York Film Critics Circle Award for Best Actress. She starred in Pillow to Post (1945), which was her only comedic leading role. After the drama Deep Valley (1947) finished shooting, neither Warner Bros. nor Lupino moved to renew her contract and she left the studio in 1947. Although in demand throughout the 1940s, she arguably never became a major star although she often had top billing in her pictures, above actors such as Humphrey Bogart, and was repeatedly critically lauded for her realistic, direct acting style.

She often incurred the ire of studio boss Jack Warner by objecting to her casting, refusing poorly written roles that she felt were beneath her dignity as an actress, and making script revisions deemed unacceptable by the studio. As a result, she spent a great deal of her time at Warner Bros. suspended. In 1942, she rejected an offer to star with Ronald Reagan in Kings Row, and was immediately put on suspension at the studio. Eventually, a tentative rapprochement was brokered, but her relationship with the studio remained strained. In 1947, Lupino left Warner Brothers and appeared for 20th Century Fox as a nightclub singer in the film noir Road House, performing her musical numbers in the film. She starred in On Dangerous Ground in 1951, and may have taken on some of the directing tasks of the film while director Nicholas Ray was ill.

While on suspension, Lupino had ample time to observe filming and editing processes, and she became interested in directing. She described how bored she was on set while "someone else seemed to be doing all the interesting work".

She and her husband Collier Young formed an independent company, The Filmakers, to produce, direct, and write low-budget, issue-oriented films. Her first directing job came unexpectedly in 1949 when director Elmer Clifton suffered a mild heart attack and was unable to finish Not Wanted, a film Lupino co-produced and co-wrote. Lupino stepped in to finish the film without taking directorial credit out of respect for Clifton. Although the film's subject of out-of-wedlock pregnancy was controversial, it received a vast amount of publicity, and she was invited to discuss the film with Eleanor Roosevelt on a national radio program.

Never Fear (1949), a film about polio (which she had personally experienced replete with paralysis at age 16), was her first director's credit. After producing four more films about social issues, including Outrage (1950), a film about rape (while this word is never used in the movie), Lupino directed her first hard-paced, all-male-cast film, The Hitch-Hiker (1953), making her the first woman to direct a film noir. The Filmakers went on to produce 12 feature films, six of which Lupino directed or co-directed, five of which she wrote or co-wrote, three of which she acted in, and one of which she co-produced.

Lupino once called herself a "bulldozer" to secure financing for her production company, but she referred to herself as "mother" while on set. On set, the back of her director's chair was labeled "Mother of Us All".[3] Her studio emphasized her femininity, often at the urging of Lupino herself. She credited her refusal to renew her contract with Warner Bros. under the pretenses of domesticity, claiming "I had decided that nothing lay ahead of me but the life of the neurotic star with no family and no home." She made a point to seem nonthreatening in a male-dominated environment, stating, "That's where being a man makes a great deal of difference. I don't suppose the men particularly care about leaving their wives and children. During the vacation period, the wife can always fly over and be with him. It's difficult for a wife to say to her husband, come sit on the set and watch."

Although directing became Lupino's passion, the drive for money kept her on camera, so she could acquire the funds to make her own productions. She became a wily low-budget filmmaker, reusing sets from other studio productions and talking her physician into appearing as a doctor in the delivery scene of Not Wanted. She used what is now called product placement, placing Coke, Cadillac, and other brands in her films, such as The Bigamist. She shot in public places to avoid set-rental costs and planned scenes in pre-production to avoid technical mistakes and retakes. She joked that if she had been the "poor man's Bette Davis" as an actress, she had now become the "poor man's Don Siegel" as a director.

The Filmakers production company closed shop in 1955, and Lupino turned almost immediately to television, directing episodes of more than thirty US TV series from 1956 through 1968. She also helmed a feature film in 1965 for the Catholic schoolgirl comedy The Trouble With Angels, starring Hayley Mills and Rosalind Russell; this was Lupino's last theatrical film as a director. She continued acting as well, going on to a successful television career throughout the 1960s and '70s.

Lupino's career as a director continued through 1968. Her directing efforts during these years were almost exclusively for television productions such as Alfred Hitchcock Presents, Thriller, The Twilight Zone, Have Gun – Will Travel, Honey West, The Donna Reed Show, Gilligan's Island, 77 Sunset Strip, The Rifleman, The Virginian, Sam Benedict, The Untouchables, Hong Kong, The Fugitive, and Bewitched.

After the demise of The Filmakers, Lupino continued working as an actress until the end of the 1970s, mainly in television. Lupino appeared in 19 episodes of Four Star Playhouse from 1952 to 1956, an endeavor involving partners Charles Boyer, Dick Powell and David Niven. From January 1957 to September 1958, Lupino starred with her then-husband Howard Duff in the sitcom Mr. Adams and Eve, in which the duo played husband-and-wife film stars named Howard Adams and Eve Drake, living in Beverly Hills, California.[22] Duff and Lupino also co-starred as themselves in 1959 in one of the 13 one-hour installments of The Lucy–Desi Comedy Hour and an episode of The Dinah Shore Chevy Show in 1960. Lupino guest-starred in numerous television shows, including The Ford Television Theatre (1954), Bonanza (1959), Burke's Law (1963–64), The Virginian (1963–65), Batman (1968), The Mod Squad (1969), Family Affair (1969–70), The Wild, Wild West (1969), Nanny and the Professor (1971), Columbo: Short Fuse (1972), Columbo: Swan Song (1974) in which she plays Johnny Cash's character's zealous wife, Barnaby Jones (1974), The Streets of San Francisco, Ellery Queen (1975), Police Woman (1975), and Charlie's Angels (1977). Her final acting appearance was in the 1979 film My Boys Are Good Boys.

Lupino has two distinctions with The Twilight Zone series, as the only woman to have directed an episode ("The Masks") and the only person to have worked as both actor for one episode ("The Sixteen-Millimeter Shrine"), and director for another.

Lupino's Filmakers movies deal with unconventional and controversial subject matter that studio producers would not touch, including out-of-wedlock pregnancy, bigamy, and rape. She described her independent work as "films that had social significance and yet were entertainment ... base on true stories, things the public could understand because they had happened or been of news value." She focused on women's issues for many of her films and she liked strong characters, "[Not] women who have masculine qualities about them, but [a role] that has intestinal fortitude, some guts to it."

In the film The Bigamist, the two women characters represent the career woman and the homemaker. The title character is married to a woman (Joan Fontaine) who, unable to have children, has devoted her energy to her career. While on one of many business trips, he meets a waitress (Lupino) with whom he has a child, and then marries her.[25] Marsha Orgeron, in her book Hollywood Ambitions, describes these characters as "struggling to figure out their place in environments that mirror the social constraints that Lupino faced".[13] However, Donati, in his biography of Lupino, said "The solutions to the character's problems within the films were often conventional, even conservative, more reinforcing the 1950s' ideology than undercutting it."

Ahead of her time within the studio system, Lupino was intent on creating films that were rooted in reality. On Never Fear, Lupino said, "People are tired of having the wool pulled over their eyes. They pay out good money for their theatre tickets and they want something in return. They want realism. And you can't be realistic with the same glamorous mugs on the screen all the time."

Lupino's films are critical of many traditional social institutions, which reflect her contempt for the patriarchal structure that existed in Hollywood. Lupino rejected the commodification of female stars and as an actress, she resisted becoming an object of desire. She said in 1949, "Hollywood careers are perishable commodities", and sought to avoid such a fate for herself.

Ida Lupino was diagnosed with polio in 1934. The New York Times reported that the outbreak of polio within the Hollywood community was due to contaminated swimming pools. The disease severely affected her ability to work, and her contract with Paramount fell apart shortly after her diagnosis. Lupino recovered and eventually directed, produced, and wrote many films, including a film loosely based upon her travails with polio titled Never Fear in 1949, the first film that she was credited for directing (she had earlier stepped in for an ill director on Not Wanted and refused directorial credit out of respect for her colleague). Her experience with the disease gave Lupino the courage to focus on her intellectual abilities over simply her physical appearance. In an interview with Hollywood, Lupino said, "I realized that my life and my courage and my hopes did not lie in my body. If that body was paralyzed, my brain could still work industriously...If I weren't able to act, I would be able to write. Even if I weren't able to use a pencil or typewriter, I could dictate."[31] Film magazines from the 1930s and 1940s, such as The Hollywood Reporter and Motion Picture Daily, frequently published updates on her condition. Lupino worked for various non-profit organizations to help raise funds for polio research.

Lupino's interests outside the entertainment industry included writing short stories and children's books, and composing music. Her composition "Aladdin's Suite" was performed by the Los Angeles Philharmonic Orchestra in 1937. She composed this piece while on bedrest due to polio in 1935.

She became an American citizen in June 1948 and a staunch Democrat who supported the presidency of John F. Kennedy. Lupino was Catholic.

Lupino died from a stroke while undergoing treatment for colon cancer in Los Angeles on 3 August 1995, at the age of 77. Her memoirs, Ida Lupino: Beyond the Camera, were edited after her death and published by Mary Ann Anderson.

Lupino learned filmmaking from everyone she observed on set, including William Ziegler, the cameraman for Not Wanted. When in preproduction on Never Fear, she conferred with Michael Gordon on directorial technique, organization, and plotting. Cinematographer Archie Stout said of Ms. Lupino, "Ida has more knowledge of camera angles and lenses than any director I've ever worked with, with the exception of Victor Fleming. She knows how a woman looks on the screen and what light that woman should have, probably better than I do." Lupino also worked with editor Stanford Tischler, who said of her, "She wasn't the kind of director who would shoot something, then hope any flaws could be fixed in the cutting room. The acting was always there, to her credit."

Author Ally Acker compares Lupino to pioneering silent-film director Lois Weber for their focus on controversial, socially relevant topics. With their ambiguous endings, Lupino's films never offered simple solutions for her troubled characters, and Acker finds parallels to her storytelling style in the work of the modern European "New Wave" directors, such as Margarethe von Trotta.

Ronnie Scheib, who issued a Kino release of three of Lupino's films, likens Lupino's themes and directorial style to directors Nicholas Ray, Sam Fuller, and Robert Aldrich, saying, "Lupino very much belongs to that generation of modernist filmmakers." On whether Lupino should be considered a feminist filmmaker, Scheib states, "I don't think Lupino was concerned with showing strong people, men or women. She often said that she was interested in lost, bewildered people, and I think she was talking about the postwar trauma of people who couldn't go home again."

Author Richard Koszarski noted Lupino's choice to play with gender roles regarding women's film stereotypes during the studio era: "Her films display the obsessions and consistencies of a true auteur... In her films The Bigamist and The Hitch-Hiker, Lupino was able to reduce the male to the same sort of dangerous, irrational force that women represented in most male-directed examples of Hollywood film noir."

Lupino did not openly consider herself a feminist, saying, "I had to do something to fill up my time between contracts. Keeping a feminine approach is vital — men hate bossy females ... Often I pretended to a cameraman to know less than I did. That way I got more cooperation." Village Voice writer Carrie Rickey, though, holds Lupino up as a model of modern feminist filmmaking: "Not only did Lupino take control of production, direction, and screenplay, but [also] each of her movies addresses the brutal repercussions of sexuality, independence and dependence."

By 1972, Lupino said she wished more women were hired as directors and producers in Hollywood, noting that only very powerful actresses or writers had the chance to work in the field. She directed or costarred a number of times with young, fellow British actresses on a similar journey of developing their American film careers like Hayley Mills and Pamela Franklin.

Actress Bea Arthur, best remembered for her work in Maude and The Golden Girls, was motivated to escape her stifling hometown by following in Lupino's footsteps and becoming an actress, saying, "My dream was to become a very small blonde movie star like Ida Lupino and those other women I saw up there on the screen during the Depression."

Lupino has two stars on the Hollywood Walk of Fame for contributions to the fields of television and film — located at 1724 Vine Street and 6821 Hollywood Boulevard.

New York Film Critics Circle Award - Best Actress, The Hard Way, 1943

Inaugural Saturn Award - Best Supporting Actress, The Devil's Rain, 1975

A Commemorative Blue Plaque is dedicated to Lupino and her father Stanley Lupino by The Music Hall Guild of Great Britain and America and the Theatre and Film Guild of Great Britain and America at the house where she was born in Herne Hill, London, 16 February 2016

Composer Carla Bley paid tribute to Lupino with her jazz composition "Ida Lupino" in 1964.

The Hitch-Hiker was inducted into the National Film Registry in 1998 while Outrage was inducted in 2020.

[dustedmagazine]

Listed: Anastasia Minster

Anastasia Minster is a singer and pianist originally from Moscow. Since moving to Toronto in 2013 she's made two solo albums of what she describes as noir chamber pop, influenced by art films, psychological theories and the cycles of life and death. Of her new album Father, Dusted's Ian Mathers says, “Sonically and lyrically it makes for a daring attempt at connecting inner and outer space, and makes for headier contemplation than most of its peers.” Today she shares a list of ten favourite dark songs.

10 favourite dark songs:

Scott Walker – “Farmer In the City”

Scott is one of my absolute favourite singers and I love pretty much everything he created. However, this song really stands out: dark, intense, almost theatrical, with gorgeous instrumentation and of course his incredible voice that makes my heart tremble.

Nick Cave and the Bad Seeds – “Hollywood”

This song is an incredible piece of music: both beautiful and horrifying. It really takes you to the dark side. Sometimes I listen to it and I can’t go through the whole track as there is so much pain in it. The lyrics are raw and ruthless and absolutely genius and Nick’s voice really gets under your skin.

David Sylvian – “Darkest Dreaming”

David has always been such an inspiration for me. This song is perfect on so many levels: musically, sonically, lyrically... I love everything about it. It’s incredibly beautiful and I find that it sounds best in the dark.

Amenra – “Solitary Reign”

This is a song from Mass VI, which is my favourite album by Amenra. I find it deeply moving and, in a way, cathartic. It is a dark prayer of sorts and it really resonates with me.

Exit North – “Bested Bones”

Exit North is a very special band and it includes, among others, two of my favourite musicians: Steve Jansen and Thomas Feiner. Steve is an amazing multi-instrumentalist, composer and sound producer (and I was incredibly lucky to work with him on my second album), and Thomas Feiner is an exceptionally talented singer.

Bohren & Der Club Of Gore – “Im Rauch”

This is the first track from my favourite album by Bohren & Der Club, Piano Nights. I love this band and admire their sound: I even used this album as a reference when I was working on my debut album, Hour Of The Wolf.

Neurosis – “The Tide”

I first heard Neurosis years ago when I was a teenager. I remember listening to A Sun That Never Sets on an old tape-recorder and it still is one of my favourite albums. “The Tide” is so dark and full of despair yet incredibly beautiful.

Nina Simone – “Black Is The Color Of My True Love's Hair”

I have always loved Nina and for some reason this particular song was stuck in my head for years. It even inspired one of my own songs, “Waiting For The Lion,” which is a lighter take on the same theme.

Nils Petter Molvær– “Sober”

My absolute favourite track by Nils Petter Molvær. Just gorgeous. I also used the track as a reference when we were working on Hour Of The Wolf as I absolutely love the way it sounds.

Agnes Obel – “Dorian”

I love Agnes and this haunting song of hers. I like how soft and dark her sound usually is: she uses muffled piano a lot and her voice is always breathy and sensual. And this track is no exception.

[aesthetic-survivor-of-twd]

This will be a looong ask but here i go which of the following games do u know and what do u think about them Ddlc- the last of us -fatal frame- detroit become human-beyond two souls-life is strange-until dawn-wolf among us-uncharted-game of thrones-heavy rain-resident evil7-among the sleep-yandere simulator-blackwood crossing

Me reading this : "haha this Ask isn't long at a- oh... I see what you mean" lmao.DDLC: Really unique and great visual novel. I admire it's technique of messing around with your game files and how it portrays it's horror element. Very unlike a lot of other visual novel games. Feels like the game version of Madoka Magica with it's cutesy vibe turned dark.TLOU: I'm not obsessed with the game like many are, but it definitely deserves the praise it gets and I love the writing and characters. I'm intrigued to see what happens in the sequel.Fatal Frame: OMG YOU GAVE ME FLASHBACKS TO PLAYING THESE GAMES AS A KID. I don't care if some of it hasn't aged well. Fatal Frame will always be a great horror game series close to my heart. One of the few horror games that actually scared me.Detroit Become Human: I know it gets a lot of criticism but I personally love it. Hank and Connor is probably my favourite story just because I am a sucker for buddy cop duos and I love Hank Anderson as a character (it's motherfucking Clancy Brown!), plus I like games that let me act like a detective. The other two storylines are also pretty great in their own right as well though.Beyond Two Souls: Ehhhh it was okay. Probably my least favourite David Cage game tbh. Did appreciate seeing Willem Dafoe in the game though lol LIS: Okay so this is the one that might get me lynched by a lot of people... I DO like Life is Strange. Buuut I really don't love it or praise it highly like a lot of people do. The ending kinda annoyed me and even though I've tried - I just find it hard to like Chloe Price as a character (did like her more in the DLC though). The voice acting kinda took me out of the immersion a lot as well even if I could handle the cheesy dialogue.Until Dawn: I really loved this game. Just a fun horror all around and gave me Cabin in the Woods vibes which I dig. Also appreciate the unique spin on using wendigos as the monster - something that isn't really some often.Uncharted: I never enjoyed a platformer game as much as this one. The characters are fun and I overall had a great time playing it.TWAU: Really loved it and I've always been a fan of the Fables comics as well as detective noir stories and fairytales in general, so it was bound to appeal to me. I kinda wish they kept the original concept for the villain, but I still love it. Really one of Telltale's best works.Heavy Rain: I don't think it holds up, but I remember loving this game when it first came out and Norman Jayden was my favourite character to play.GOT: "Eh" it was okay. I'm kinda indifferent to it tbh.Resident Evil 7: SURPRISED ME BY HOW GOOD IT WAS. I'm a massive Resident Evil fan and wasn't expecting this game to be a great as it was. But I was gladly surprised.Among the Sleep: I remember liking this game. I caught onto where the story was going earlier on but it was still a nice trip.Yandere Simulator: Oof let's not go there. I thought it showed promise at first but I've dropped the game at this point because I find it hard to support Yandere Dev for all the shit he has been doing (and I'm not referring to his past). I honestly doubt that game will ever be finished in all honesty. Seems like he is just trying to draw things out as much as possible by making random videos on potential content to make it look like a lot of development is going on so he can get that Patreon money at the end of the day.Blackwood Crossing: Never played it but it looks interesting.

[tacitcantos]

The Biggest Difference Between The Wolf Among Us and Fable Comic

More than just seeing how clever the writer can be in fitting the jigsaw pieces of fairy tale and modern day together, The Wolf Among Us is interested in the deeper thematic resonance to be mined in looking at the consequences of the original fairy tales: in what happens when you strip fairytales of their gravitas, in the complexities and nuances of how the Big Bad Wolf would deal with his past in the modern day.

The Wolf Among Us is a prequel videogame to the long running Fables comic series. The premise of both is simple: all of the fables of brother’s Grimm fame are refugees in our world after having to flee their own, and now live in hiding in an enclave in New York called Fabletown. The main character of both comic and game is Bigby Wolf, the big bad wolf of legend now reformed as the sheriff of Fabletown.

The Wolf Among Us has a dynamic storyline that shifts and reacts to the dialog choices you make for Bigby, and the game is easily one of the smartest takes on fairy tales you’ll find in any medium. One of the themes inherent in any modern day take on fairy tales is postmodernism, the fun in the premise seeing how fairytale characters slot into a modern world, of juxtaposing the mythos of the original stories with the mundane of everyday life. The Fables aren’t mythical characters anymore, no longer princes and damsels and monsters, they’re all just people now trying to get by.

But more than just seeing how clever the writer can be in fitting the jigsaw pieces of fairy tale modern day together, The Wolf Among Us is interested in the deeper thematic resonance to be mined in looking at the consequences of the original fairy tales: in what happens when you strip fairytales of their gravitas, in the complexities and nuances of how the Big Bad Wolf would deal with his past in the modern day.

Though the comic series was started back in 2002, twelve years before The Wolf Among Us was released, my introduction to the Fables universe came first through the game, and after finishing it I went on to read the comics… and was almost immediately disappointed.

The thing is, while The Wolf Among Us is a nuanced and complicated take on fairy tales, the Fables comics... aren’t. They’re not badly written, but they’re only interested in that fun surface level of draping fairy tales over the modern day without any real engagement with how that changes or complicates them. Every way The Wolf Among Us engages with the specifics of the original fairy tales, the comics don’t.

Now, the comic series does actually at first do some smart things: so Fabletown isn’t ripped apart from internal conflict all inhabitants are granted blanket immunity for past crimes in their old world. To protect from the outside mundane world they’re also forbidden from revealing their magical identities. While for the human fables this is easy enough, for inhuman fables like trolls or talking frogs it requires purchasing expensive spells, called glamours, to disguise themselves, or risk being shipped off to a farm outside the city.

These are a great example of taking advantage of the Fabletown premise: they’re logical extrapolations, and they set the stage for interesting conflicts. Both comic and game explore those conflicts, but do so in fundamentally different ways.

A few issues into the comics those inhuman fables on the farm rebel and try to take the reins of power for themselves. This is actually one of the few places the comics really engage with the original fairy tales and make full creative use of them: there’s an especially funny reference to Goldilocks having gone native with the three bears from her story and now works as a terrorist and freedom fighter for inhuman fables, but there’s very little long term value to the storyline. The rebellion is put down after a few chapters, but there’s no change to the Fabletown status quo, no growth for any of the characters involved, no examination or deconstruction of the themes of the story or original fairy tales.

Instead of being a fun little side story, the tension between human and non-human fables makes up the core of The Wolf Among Us. A deep trench of bitterness separates the have’s from the have-nots, with inhuman fables ignored by the Fabletown government and treated like second class citizens.

It’s actually remarkably similar to real life ethnic enclaves at the turn of the century. In trying to solve the first murder of a fable in years, Bigby has to navigate a Fabletown where Beauty and Beast, like a lot of refugees, were wealthy in their home country but now find themselves resorting to less than savory ways to pay for a lifestyle they can no longer afford; where racial resentment between those who can pass as the native population and those who can’t is high; where the weak institutions of the fabletown government have allowed an organized crime element to rise to power and take advantage of the vacuum in fabletown just as the mafia did in Italian ethnic enclaves in New York.

Bigby himself operates in a really interesting liminal space between the two classes of fables: viewed as a traitor and Uncle Tom by one side while also never fully accepted by the other. Despite the clemency granted to all fables for their crimes in the old world, no one’s forgotten just how many people Bigby ate in the homelands.

This is an aspect of Bigby that isn’t explored in the comics, and his reasons for taking on the office of sheriff aren’t either. It’s suggested at one point that he came to Fabletown and reformed from his old ways because of his interest in Snow White. And it’s not a bad motivation per se, it’s just that it isn’t explored more than that. There’s no character growth, no struggle in trying to refrain from violence despite his enjoyment and affinity for it, no conflict between his old ways and the new person he’s trying to be, no emotional toll in the suspicion the other fables view him with, no personal cost in what he’s doing.

The best example of this is the introduction of Red Riding Hood a dozen issues or so into the comics. With the Big Bad Wolf as a main character you might think one of his former victims showing up to be a complicated and thorny issue… but you’d be wrong.

There’s a single page where Red Riding Hood is upset by Bigby being the sheriff and forgiven for his crimes in the old world, but it’s quickly discovered that she’s not actually Red Riding Hood, and instead an evil witch in disguise. Narratively, her appearance is simply a ploy by the villains that once discovered isn’t commented on again. There’s no emotional or thematic conflict in it, no examination of the complicated relationship between former abuser and victim, of how to reconcile past wrongs, of the bitterness Red Riding Hood should feel over how the other fables have accepted the monster that once terrorized them all. The real Red Riding Hood does eventually show up later, but she has even less to do with Bigby than the fake one.

While Red Riding Hood doesn’t appear in The Wolf Among Us, the game does confront Bigby with an element from his original fairytale: the Woodsman.

And his relationship with Bigby is nuanced. Instead of the hero of the story as he was in the Homelands, in Fabletown he’s a drunk and abuser of women, and resents Bigby: he’s the hero of the story, not Bigby, so why is he a suspect in a murder case? Doesn’t anyone remember what Bigby is? What he’s done? These are interesting questions that spring from the original fairytale, and ones that go unasked in the comics. They’re also used for character growth: depending on your choices in the game there can be a distinct arc with Bigby and the Woodsman finally burying the hatchet and reaching an understanding with each other.

Bigby’s motivation in becoming sheriff in The Wolf Among Us is positioned as less about Snow, and more about reforming his image and identity as a whole. This motivation informs all his actions in the game: the constant friction between lapsing back into his old Big Bad Wolf persona to speed the investigation along, and the new order abiding and non-violent one he’s trying to forge. And despite his best efforts there’s a real undertone throughout the game that he may be needed because of his ability to inflict violence, but because of exactly that he’ll never be trusted.

It’s a really nuanced way of engaging with the consequences of the original fairytale and using it to inform character growth and theme.

Part of the reason the game is so much better at exploring these themes is down to both a difference in the medium and genre. The main game mechanic of The Wolf Among Us is decision making and dialog choices, and the more complex and multifaceted the characters and conflicts, the more interesting it is to play. And the noir detective genre is simply a better vehicle for exploring those small, personal tensions and conflicts than the superhero war story of the comics.

Moral relativism is a hallmark of noir which makes creating nuanced characters easier, and a murder mystery by its nature requires the detective to move through the different stratas of society and puzzle out the motivations and nuances of suspects and witnesses. There’s also just a hundred small ways the presentation of The Wolf Among Us reinforces the unglamorous nature of Fabletown: the neon lights that drench the world, the constant graffiti in the background, the thick atmosphere of the music, Bigby’s weariness in quiet moments, the way his fridge is empty.

Even the titles of the comics and game set them apart: Fables is a generic and vague title, The Wolf Among Us specific, intriguing, and hints at the liminal space Bigby occupies, the themes of fear and belonging.

None of this is to say that the original Fable comics are bad. They’re not: they’re well written and well drawn. But they’re not everything they could be, not as brilliant as their premise promises. The fairytale elements in them are just draped over a conventional plot, the connections only skin deep.

Found this interesting? Exciting? Sexy? Check out my other writing on my tumblr here, or check out my youtube video essay channel here.

[audrasancho22982-blog]

Timeless Publications Receive A Facelift With Retro Computer game Covers.

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Yan 2295, which has actually leaked pretty credible details associated with Rockstar as well as their video games previously, like dripping Red Dead Redemption 2 or lately disclosing that a LA Noire remaster could be on its way, lately referred to this in a blog, mentioning that Superstar will be actually discharging updates for some time only to maintain this alive" however nothing at all more in addition to that.

[ngchanqut-blog]

N CHAN. WIZARD OF OZ. ESTABLISHING SHOT. CONCEPT

The thumbnails I’ve favoured are those feature city and metropolitain settings. Regarding visual style, I’ve favoured “Film noir” paired with a classic 1920s american detective story.

After selecting my favoured thumbnails I expanded on them by adding more detai to the drawings and applying different perspective methods in order to scale my scene. I’ve also measured and drawn 16:9 aspect ratio boxes for my thumbnails so they accurately represent the final establishing shot.

To help my work I referenced still scenes from a variety of media from the early 1900s, including films and books. I also used references from a recent production in the detective, noir style “The Wolf Among Us (Telltale Games, 2013). These references inspired me to try an Establishing scene in the same style using a minimalist tone and hue pallete.

I ended up with three (3) detailed scenes, with the third scene as my chosen Establishing shot. The “haunted forrest” in this case is an undesirable city street that my characters need to pass through to reach their destination. I’ve tried to create a claustrophobic feel by constricting the sides of the scene, applying 1-point perspective to the street. 1-point perspective looks unatural to people and they feel uncomfortable if they’re part of it, a trick I learned fromt he late Stanley Kubric. the street itself is illuminated yellow by the street lights, providing the “yellow brick road” the characters in “The wizard of Oz” follow to the “Emerald City”.

After discussing my Thumbnails with a student, I was inspired to position the “Emerald City” in the far distance of my scene as the heart of the city with great light illuminating it. If this were a full production, I’d try to include the “Emerald City” in every landscape scene in order to establish the grand scale of it and to communicate hot it is the centre of the world for residents on this city.

In establishing my final scene I thumbnailed the perspective using curved lines of action to pull attention toward my “Emerald City”. I’ve also detailed lights and signs to be used as props in my scene.