#not art but I enjoyed making these and I want share

[cinnamorollcrybaby]

Career Day

Tags: teeth rotting fluff, crack, jjk men as dads / fem!reader

An: Your child comes home and says tomorrow is career day at their school. They want to bring you and their daddy to school to show off how cool you two are, but.. their dad doesn’t exactly have the most conventional job.

SATORU • SUGURU • TOJI • SUKUNA

SATORU

“My daddy is the strongest!” Your son explains to a room full of his peers. Satoru is proudly beaming next to him. You note how much they look alike. The white hair, the bright blue eyes. Your son looks like he came straight from Satoru and had nothing to do with you.

But your son, Aoi, definitely had your personality.

“Nuh uh. He can’t be the strongest. Superman’s the strongest!” Another kid protested with an unconvinced frown.

“Well, my daddy is like superman!” Aoi retorts, keeping his headstrong personality like his mama. “Actually, he’s even better than superman!”

“He’s not even wearing a suit!” A different child speaks up. You share a nervous glance with Satoru. He’s enjoying this all too much.

“He doesn’t need a suit to be the strongest, dumbass!” Your sweet boy yells, and you promptly cover his mouth. Satoru is laughing his ass off, making the entire situation worse.

Correction, Aoi trying out his dad’s signature hand signal and saying “domain expansion” made the entire situation so much worse.

“You’re grounded, Aoi. You can’t say those things to other people. It’s rude and hurtful.” You say as you and Satoru walk your young boy home. Aoi lets out a small frustrated groan.

“I’m still getting him ice cream.” Satoru interjects with a proud smile. “My boy tried to cast his first domain at just six-years-old. He deserves a sweet treat.” Two wide smiles look up at you, and you realize you’re outnumbered here. Rolling your eyes, you nudge Satoru.

“I want a girl next.”

SUGURU

Mimiko and Nanako begged Suguru to come to their school’s career day. He was of course hesitant to do so, given that Jujutsu sorcery was still a hidden art in Japan. He didn’t exactly know how to explain his career to a bunch of kids.

He had a plan though. He would just tell the children that he was a preacher at a church. It’s not… completely a lie. He was a leader for.. a type of church.

You and Geto walk into the cozy looking classroom and see a load of other parents there. Your husband grimaced at the thought of having to interact with all these… people.

You give Suguru a reassuring squeeze of the hand. “It’ll be okay. Anything for the girls, right?” You whisper into his ear, making him nod. Anything for the girls.

When it’s finally Mimiko and Nanako’s turn to explain what their daddy does for a living, your small family gathers at the front of the classroom. Plenty of small innocent faces and reassuring smiles fill the room.

“Okay girls, tell us what your parents do for a living.” Their teacher prompts with a warm smile.

“My daddy swallows balls for a living!” Nanako says proudly with a beaming smile.

The kids erupted into laughter while their parents gave you two disgusted looks.

To make matters worse, “He also hates filthy mo-“ Mimiko tries to add on, but Geto quickly covers her mouth with his hand.

After explaining what a vivid imagination your twins have, you go on to explain that Geto is a leader at a church, and well, that doesn’t go over too well either.

“Homeschool?” Geto suggests as the four of you walk home.

“Most definitely.” You agree. Mimiko and Nanako are now educated by you at the home, where they can’t out their dad for swallowing balls.

TOJI

“Mama, make papa come to career day.” Your young son, Megumi, demanded. He had a small little pout on his face, and his arms were firmly crossed over his chest. Behind him, Toji stood, shaking his head at his son’s determination.

He often did this: telling you to make Toji do something because you were the only person who could make Toji do anything. After all these years, mans was still wrapped around your finger.

“Baby, Papa’s job is kinda private.” You explain quietly as you pet Megumi’s soft hair.

The small boy’s look of determination shifted to a look of reserve. Even as a young child, he wasn’t great at showing when his feelings were hurt, but you could always tell.

“Gumi.” You say his name softly, bending over to look at the boy’s flat expression.

You were also the only one who could coax Megumi into showing his real emotions.

Tears welled in his eyes, and his bottom lip started quivering. “I don’t wanna be the only one whose parents didn’t come.”

“Oh baby.” You frown as you pull your son into a hug. You glare upwards at Toji, and his eyes widened slightly. He knew what that look meant. “You’re going to career day.” You say to him, leaving no room for argument.

The next day,

“Okay Mr. Fushiguro, what do you do for a living?” The teacher asks Toji as he’s sat next to Megumi. Your son is actually smiling, enjoying the fact that Toji actually came to career day.

“People pay me a large sum of money, and I take care of someone for them.” Toji explains vaguely.

“Oh! Like a doctor?” One of the kids asked with an impressed smile.

“Sure, like a doctor.” Your husband lies, knowing that he does quite the opposite of what a doctor does.

SUKUNA

The look on the kids faces as your tall, muscular, tatted husband walked into the classroom was hilarious. Most of them were completely mortified, giving Sukuna frightened stares.

Your husband was completely unfazed. If anything, he was soaking in the kids’ fear. He sat at the front of the room with a look of arrogance.

Your nephew, Yuji, sat between you two. No, he was technically not your kid, but he didn’t have anyone else to bring to career day. So, Unc Sukuna and Auntie Yn were to the rescue.

“And.. what do you do for work, sir?” The teacher asked in almost a judgmental tone as she eyed Sukuna. You couldn’t tell if she despised him or wanted to fuck him.

“I don’t work. I live off tithe.” Sukuna bluntly answered with a shrug. His lopsided smile never left his face.

“What’s a tithe?” A small child asked quietly.

“It means people pay me out of fear of that I’ll harm them if they don’t.” Your husband gives a child a sharp stare with a challenging smile. He wanted the kids to keep asking questions. The thought of scaring multiple children all at once fueled him.

“Like… beat them up?” Another child asked.

“Like eating their snot-nosed children.” Sukuna answered with a toothy grin. The children all shrieked and cried in terror. Hell, even their parents looked frightened.

“Ryomen.” You chide as you look over towards your husband. He was laughing maniacally, even slapping his knee like the old man he was.

Yuji never invited you two to another career day.

[wings-of-fire-confessions]

Alright let’s talk about the fandom. Seriously.

Immaturity and bad takes are impossible to avoid since this is literally a book for pre to post teens, a lot of older people either love or grew up with it, but have left because of the loud majority of minors. This post is mostly for those younger people, so keep that in mind.

I’ll just say this real quick, if you’re 12 and under. Get off, it’s truly for your own safety you shouldn’t even be online, be patient and wait, it will be worth it I promise. Young minds should definitely NOT be interacting with this fandom at all.

These books and the fandom means a lot to me, and to see it on fire breaks my heart, so here I propose some temporary solutions and suggestions:

Draw people’s ocs! No matter how off cannon or op they may be, this fandom is full of children and a little kindness can go a long way

Encourage nuance, I know it’s not our job to parent the kids who are left abandoned on the internet, but I think it’s important to understand where these kids are coming from. Learning is hard for some but that doesn’t mean you shouldn’t be held accountable for your actions. Differing opinions might be trivial to some who grew up in an echo chamber of the same views as them, so take a mindful approach of sharing new ideas, don’t just say “This idea is correct and because you don’t think it is you’re wrong”.

Positivity and kindness. This one is very important, you need to listen to one another and give everyone a chance to speak, there are so many diverse people across the fandom and we all just want to enjoy our dragons. Ruining the fun by harassing innocent people is not okay, relax a bit and step back, this is all just a series about a fictional species with rules that can be easily bent for fan content, everyone is having fun together, and you can either watch, partake, or ruin it.

I think that’s all I have to say for now, I just love psychology and growing minds are fascinating to me, I love children with all of my heart (not like that) and it’s upsetting to see them fighting with each other or getting dog piled by older people! Please, this fandom has to be way more mindful of it wants to continue, minors in fandoms are unavoidable but you can easily make 16-18+ servers or groups.

With that being said, I genuinely love you all and I wish to see this thrive, continue doing your art, your writing, or whatever the hell you do, I’ve seen so much amazing mixed media projects about these dragons and it makes me so happy that people are sharing this stuff with the world. I love you artists, fellow fandom siblings, and to all else who reads this, have a good day/night 💖

.

[clarisse0o]

Camp Wiegman-Part 78

Lucy Bronze x Ona Batlle

Alternative Universe: Military School

Words: 5K

Masterlist

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Sunday, April 10th – Manchester Airport.

I've never been so excited to go on vacation. I'm sitting next to Lucy, holding her hand. We're waiting for our flight. Jenni and Alexia dropped us off an hour ago after we ate together, and now we're alone. It's soothing to be just the two of us, especially after the past few weeks.

"Excited?" Lucy whispers to me.

"Oh yes."

"It will be well-deserved."

We exchange a smile. After nonstop studying, tests, mock exams, and even working at the gallery with Grace for two Saturdays... Yes, I think it will be well-deserved. I've worked hard, but I don't regret it. It helped lift a huge weight off my shoulders. At least I've secured my spot at art school for next year. That's something. Now, as agreed with Lucy, I must step away from my studies for two weeks. It's difficult because my diploma is still on my mind. I worked hard, and I think I did quite well on my mock exams this week, but you never really know. In the meantime, I promised to make the most of these two weeks, so I’m trying not to think about it. The only thing I need to focus on is Lucy and our families.

"I was thinking we could go camping," I shared with Lucy.

"Camping, huh?"

"Yeah. We've talked about it so much. It would be a great opportunity. Or at least spend the evening on the beach! Oh my God, I’ve missed that so much," I said excitedly. "With a campfire, marshmallows, and—"

"Hey," Lucy laughed. "Relax. We'll have all the time to do whatever you want. It seems work has gotten to your head, huh?" she teased, running her hand through my hair.

"Are you making fun of me?" I asked, pouting.

"Oh no," she smiled mischievously.

"That was the deal, remember? I had to give it my all until vacation and then calm down afterward."

"That’s true. You didn’t sneak any study materials into your suitcase, did you? Maybe I should have checked."

"Stop," I giggled. "I wouldn’t do that."

"Oh no. That's not like you at all."

I laughed harder and playfully slapped her thigh at her irony. It's true I thought about it, but I didn't do it. I really want to enjoy this relaxing vacation. After all, we're going back home.

"Hey, none of that," she said, intertwining our fingers after my playful slap. "We have to endure almost 3 hours together in the air, so let’s not start hitting each other."

"True, but we'll sleep through half of it, so you don’t have to worry."

"Speak for yourself. You're a real napper."

I smiled. It's hard to argue with that. I enjoy being calm in moments like this. Finally, boarding time arrives. This is going to be a long trip. My six-hour flight back to Barcelona will seem like nothing compared to the nineteen hours we're about to face, with a layover, no less. We settle into our seats after passing through security. It's a shame, but I won’t see Shay here. She explained that she tries to be on the Barcelona flight as often as possible because her boyfriend lives there.

"Do you take this trip often?" I asked my girlfriend, gazing out of the window.

I’m eager to take off, but also nervous. I've never liked flying to Portugal. I wonder how Lucy feels about it. I remember she's not particularly fond of flying either.

"I think I’ve told you before," she answered. "I visit my parents twice a year… although, that might change next year."

"Why? Because of me? Please don't say that. I haven’t even met your parents yet, and they're going to hate me."

"Why are you getting so worked up?" she laughed. "Of course not. The venue will take up a lot of my time. I'll have other things to do than visit them. They'll just have to come to me for once."

"Okay," I murmured.

"Are you still nervous about meeting them?"

"A little…"

"Everything will be fine, I promise."

I smiled as she brought my hand to her lips. She makes me feel like everything's going to be okay. It’s crazy.

"Come on, get some rest. The trip is long, so you might as well recharge."

"Doesn’t it bother you...?"

"Sweetheart, you’ve been pushing yourself hard for three weeks. I know you’re tired. Rest, this is your time."

"Okay," I murmured. "Promise you won’t let me sleep too long though? I don’t want to leave you alone for the entire trip."

"Sweetheart, don’t worry about that. Sleep. We’ll have plenty of time to enjoy each other’s company when we land."

She nudged me to rest my head against her. I smiled and settled into a comfortable position. It’s true, a little rest wouldn’t hurt. I’ve been going non-stop. It’s time to relax, but before that... she’s right. I need some rest.

"Thank you," I murmured as I watched the takeoff through the window.

My eyelids felt heavy after half an hour. I tried to stay awake to keep Lucy company, but she seemed to avoid talking to help me fall asleep. It didn’t take long.

Sunday, April 10th, – Lisbon Airport.

It's either early or late... I’m not sure anymore. Now I remember why I hate jet lag. The good thing is the flight made me forget the time and regain some energy. I feel great, and I think Lucy does too. We’ve got silly smiles on our faces. We know we’ll finally be able to live safely here. We were so happy to return to our homeland. As we enter the terminal, I immediately spot my grandpa. Lucy must have sensed my excitement because she released my hand without saying a word, letting me run toward him. I immediately hug him tightly.

"I'm so happy to see you again! I missed you."

"And I missed you."

We pull apart, and I turn toward Lucy, who’s now by my side again. Before I even have time to introduce them, my grandpa asks:

"Well, is this the lucky one?" he says with a grin.

"Yes. Grandpa, this is Lucy. Lucy, this is Charlie Batlle, my grandfather."

"Nice to finally meet you. Ona’s told me a lot about you."

She smiles genuinely, though I can tell there’s a bit of tension behind it. My grandpa chuckles and catches her off guard by giving her a big hug.

"Forget formalities with me, dear. It’s a pleasure to meet my granddaughter’s girlfriend."

I smile in return. I didn’t expect this meeting to go any other way. My grandpa has such a big heart. When I told him who I was coming with, he was thrilled. I expected nothing less from him.

"How was the flight?" he asks as we start walking.

"Long, but overall good."

"Oh yes, it’s quite a haul. But we’re glad to finally be here."

I let them chat as I take in my surroundings. Just feeling the ground beneath my feet is a pleasure. My legs had started to go numb from sitting for so long. The sun shines through the large windows, making me smile. I feel like a ball of energy. It's wonderful to be back, but also hard. The last time I was here was for my father’s funeral... I don’t have time to dwell on it, though, as we grab our bags and head outside. The weather feels nice. A bit cool, but I’m not surprised given the time. It's early, and this time of year, we’re in autumn. I think we’ll be lucky. It feels mild, and we’ll be able to do lots of outdoor activities like we talked about on the plane.

"How’s the weather?" I ask my grandpa for his opinion.

- "I think you're going to be lucky in the next few days," he replies with a smile.

- "Great."

We walk through the parking lot, looking for his car. I spot it immediately, remembering it perfectly.

- "Oh, you still have your old pickup!? I can't believe it!"

I rush over to it, making my girlfriend laugh. I've always loved this car. My grandfather used to let me sit in the back whenever we took short trips. I expected him to have gotten rid of it by now.

- "It's a nice car," Lucy comments, running her hand over the bodywork. "1970 Chevrolet, right?"

- "Yes, that's right," my grandfather says, surprised. "You like cars?"

- "She loves them," I chime in before Lucy can respond. "She's a huge fan. If there's anyone you can talk to about your old cars, it's definitely her."

- "She's exaggerating," my girlfriend replies, a bit embarrassed. "I know a little thanks to my dad. He loves them, so I guess I inherited that from him."

- "Do you know a bit about mechanics?" he continues. "Because I think this old thing could use a little tune-up."

- "Oh. Well, I can take a look if you'd like. I restored my first car with my dad, and it was about the same age, so I think I can manage."

- "Really?" I say, surprised. "I didn't know that."

I knew she liked cars, but I never knew where it came from. Now I do. I think these holidays are going to be a way for us to learn more about each other. After all, we’re returning to our roots.

- "I wouldn't be as interesting if I told you everything all at once," she teases, making my grandfather laugh.

- "She's right! That's how I kept your grandmother for all those years."

He adores my girlfriend, it's obvious. I couldn't be happier. His opinion matters a lot to me. It's like my dad accepting her.

- "What was her name?" Lucy asks.

- "Mandie."

- "That's a beautiful name. We’ll have to keep it in mind for later."

I blush at this comment, which is clearly not a joke. It's obvious she means it. I think back to the conversation we had at the restaurant. She really does want to have kids with me someday. Finally, we pack our things into the back. Once we're done, my grandfather hands the keys to my girlfriend.

- "Oh, um..."

She looks at me, unsure of what to do. I shrug with a little smile.

- "I wouldn’t say no if I were you. You must be dying to, and let’s just say he doesn’t let just anyone drive his baby..."

- "Oh yes, that's for sure," confirms my grandfather.

- "I don’t even know the way," she tries to argue.

- "Well, we’ll guide you," I reply. "Come on, I'll sit next to you."

I snatch the keys from my grandfather and drag Lucy to encourage her to do it. I sit in the middle to stay by her side. I can tell she's feeling a bit awkward behind the wheel, but that quickly fades once we leave the airport. I smile because it's clear she's enjoying herself. The engine purrs, showing its age, but it still drives smoothly. It just needs a good clean-up. On the other side, I can see my grandfather is happy too. He was so excited to know we were coming. It's been a long time since anyone visited him. I know he knows a lot of people here, but it must be tough losing all your loved ones and being left without family nearby. In any case, he's in great shape. He hasn’t stopped talking the entire ride. I'm really glad I got some sleep on the plane; otherwise, I wouldn’t have handled this conversation as well given the time of day. On the other hand, I'm enjoying seeing Lisbon again. It feels like home. I smile when Lucy parks in front of the family house. It’s a little home that I’ve always been particularly fond of. We’re far from the city, and there’s a small beach just behind it. I’ve always found this place to be peaceful. Lucy must think the same, judging by the way she looks at the house with wonder.

- "You must be starving," says my grandfather as he gets out of the car. "I’ll go make you both some breakfast. Ona, why don’t you show her around the house while you wait?"

- "Yeah," I say, snapping out of my thoughts. "Yeah, of course. Thanks."

We get out as well, and I smile as I watch Lucy taking it all in. It feels strange to see her here, far from our obligations, but especially at my place. I finally feel like her girlfriend and not just her student.

- "Not bad, huh?" I ask, nudging her playfully.

- "It’s beautiful, indeed," she says with a small smile. "Is this the family home?"

- "Yeah... This was my dad’s last home," I confess.

- "Really?" she raises an eyebrow.

- "Yeah. He came back to live here after... my grandmother passed away and my parents divorced."

- "I see," she nods. "It’s a lovely place, though," she whispers. "You must have a lot of memories here."

- "Oh yes..." I breathe.

I squeal in surprise as we’re interrupted by a ball of fur that literally jumps on me. Lucy bursts out laughing and crouches down to greet the dog, who quickly forgets about me.

- "I can’t believe it! A little petting, and he’s off to someone else," I grumble, making my girlfriend smile.

- "Good thing humans aren’t like that. So, aren’t you going to introduce me?" she teases. "It’s an Australian Shepherd, isn’t it?"

I laugh, shaking my head.

- "Yes, that’s right. Let me introduce you to Buzz, the youngest member of the family. Well, sort of!" I giggle.

- "Wow. He seems like such a sweet dog."

I tilt my head with a smile, noticing she’s clearly no longer paying attention to me at the moment. Oh, so she really loves dogs, huh? Another thing I didn’t know. I crouch down too and finally manage to get the dog’s attention, along with Lucy’s.

- "Do you like dogs?" she asks me.

- "I do, yes. I didn’t know you were such a fan."

- "Oh, I love them, but they need a lot of attention, unfortunately."

- "That’s true."

I start petting Buzz too. I missed him. My dad wanted to get a dog so my grandfather wouldn’t be alone when he was away on missions. My grandfather wasn’t too keen on the idea at first, but in the end, he’s the one most attached to Buzz.

- "Maybe we could consider getting one."

I look up at Lucy in surprise.

- "Really?"

- "Well, why not? Maybe not right away, but once we see how our schedule is next year. If everything works out, we could get one."

- "Definitely, yes!"

I nod enthusiastically, making Lucy laugh. It would be a great first step toward commitment.

- "Alright," she says, standing up.

- "I should really show you around the house," I announce, standing up too.

We grab our bags and head inside. It feels strange being here again... The last time I was, my dad was still around. It’s bittersweet because I’ve always loved his rustic style. Lucy must have noticed my change in mood because she gently places her hand on my back.

- "Will you show me our room?"

I smile shyly and nod. From where we’re standing, we can see the living room, but I lead her upstairs to our left instead. Lucy follows closely behind. The house isn’t very big, but it has three bedrooms and a bathroom just on the upper floor. Mine is at the end. When we walk through the door, we’re greeted by a room flooded with light from a large bay window that opens onto a small terrace, almost as small as my room itself. It’s barely big enough for a bed and a wardrobe, but it’s more than enough. I chose this room because I fell in love with the view of the sea. I’ve lost count of how many times I left the curtains open just to wake up to that view, accompanied by the sound of the waves. It feels like paradise. Nothing has been moved, yet I can tell everything is clean. My grandfather must have taken the time to tidy up.

"It’s lovely," she whispers, pulling me out of my memories. "Is that your dad? »

I nod as she points to a picture of us. To be honest, it's the last one we took together. We were in the back, by the sea, and he tried to throw me into the water when we had just arrived here. In the end, it made for a beautiful shot, taken by my grandfather.

"You look a lot like him," she says with a small, sad smile. "How about we take a walk this afternoon? We can visit his grave while we're at it."

"Really?" I reply, surprised. "I mean, I don't want to burden you with that. I would have done it another time, like when you go for your morning run."

"Don't be silly. I'd like to come with you, if that's okay."

I smile softly and nod. I didn't want to pressure her, but if it's her idea, I won't say no.

"Okay... Thank you."

"It's nothing. You seem uneasy... Are you sure you're alright?"

"Yeah. It's just strange to be here..."

"You haven't been back since?"

"No," I admit. "We came back for the funeral, but..."

I take a deep breath. She has a right to know, after all.

"I didn't have the courage to set foot here again. I made my mom book us hotel rooms."

She nods in understanding.

"Come here."

She opens her arms, and I immediately snuggle into her embrace. She kisses my forehead, holding me tightly.

"It’ll be okay, alright? He wouldn't want to see you like this."

"I know... But it's stronger than me."

"Okay," she says, pulling back. "You know what? We didn't come here to mope around, so... How about we plan that stargazing night tonight instead? We can always take that walk another day. I can see you need a distraction."

"Really?"

"Well, yeah. If I'd known there was a beach right behind the house, I would've agreed to this sooner. Might as well enjoy it while the weather's nice. It might not last long."

She's amazing... She always finds ways to lift my spirits. I smile and nod. There's no rush now that we're here, but I really like this idea to start things off.

"Great... And what do you say we help your grandfather now? I can already smell waffles, and honestly, I’m starving."

I laugh and nod. If there’s one thing that didn’t go well during the trip, it’s the meals over the past few hours. A good breakfast will do us good.

"Yeah... You're right. You’ll be impressed. His waffles are the best."

"Oh, really? Better than mine?"

"Um... Hard to say... But yes. I’d say so," I tease, grinning.

"Oh, really? I might need to remind you otherwise..."

"Wh-"

I don’t even get to finish my sentence before she attacks me with tickles. I burst out laughing, squirming to escape her grasp, but it's no use. I accidentally pull her down onto the bed, but she still keeps control. I tend to forget just how strong she is.

"S-stop, p-please."

"Oh, now you’re begging?"

I can barely catch my breath. Lucy slows down, but her laughter still echoes in my head.

"So? Are you going to admit my waffles are the best?"

I try to breathe, but giggles still escape. Her fingers hover threateningly over my stomach, as if daring me to give the wrong answer. I grin, deciding to play along.

"I’m not changing my mind," I say with exaggerated seriousness.

Her mock-offended expression makes me smile like an idiot. I love when we’re like this together.

"Oh yeah? And what should I do to change your mind, huh? Oh, I think I know..."

I laugh as her lips brush against my neck.

"Please. You can’t torture me like this."

"Oh really?" she whispers. "I think I’m the only one who has the right to torture you like this."

I wrap my arms around her neck. I can’t help it. What I wasn’t expecting was for her to start tickling me again, this time under my shirt. The sneaky move leaves me laughing uncontrollably, unable to defend myself.

"S-stop, stop! Okay, okay, you win! Yours are the best! Yours are the best!"

The torture stops at my pleas. The next moment, her lips meet mine, and I immediately relax. I laugh as I try to catch my breath. She really is the one I need, no doubt about it.

"See? That wasn’t so hard."

"Girls?" my grandfather calls out. "Everything’s ready, if you’re hungry."

"Well, look at that. We didn’t even get to help your grandpa."

"He’ll survive," I murmur before kissing her.

I wrap my legs around her waist, but Lucy doesn't seem to agree. Though she chuckles, she gently pushes them away.

"Sweetheart..."

"What?" I laugh. "He can wait two more minutes."

"Okay," she sighs.

She kisses me back. I smile as I feel her hand caressing my stomach. She doesn’t even realize how much she drives me crazy... or maybe she does, judging by the way I move my hips against her.

"Not here, and definitely not now," she teases. "We need to go down."

"But!"

I groan in protest, making her laugh softly. She’s so adorable, looking at me with her head tilted. Her eyes drift down my body, and I realize my shirt is pushed up to my chest. I quickly pull it down, which brings her gaze back to my face.

"If I don’t get to, neither do you."

"Oh, you’re like that now?"

"Yep. Too bad for you. You’re missing out."

I get up from the bed and walk down the hallway, purposely swaying my hips for her to watch. I can hear her laughing behind me, which makes me turn around to stick my tongue out at her. What I wasn’t expecting was for her to catch up and grab my butt at that exact moment.

"Don’t worry, I plan to take care of that during this vacation," she whispers to me.

"Really?" I reply, breathless. "If you stick to your rule of no hooking up under family roofs, we won’t be doing much of anything."

"Who said it would be in a bed?"

Her comment stops me at the top of the stairs. Did I hear that right? Where did my innocent girlfriend go!? It’s her turn to tease me with a playful smile as she walks into the living room where my grandfather is waiting for us. Oh my God. We’ve only just started our vacation, but I don’t know why, I feel like this will be the best one we’ve ever had. Then again, we came here... there's no other word. We understand each other, we live together. I’ve never had it so easy with anyone else. My father was right. In life, you only meet one true love. It doesn’t matter how many people come before or even after... but there’s only one, and you feel it instantly. You just have to be lucky enough to find them. I think I knew from the first day what Lucy would mean to me. I was scared at first. After all, we each tried to push the other away with all our strength... But once again, my father was right. You can’t avoid the inevitable. Fate wanted us to be together, and here we are. One thing’s for sure, I’m not going to repeat my parents' mistakes. Lucy is going to be my priority, and I’ll make sure to nurture our relationship. It’s my turn to show her she deserves the world. Smiling, I join her as she’s already deep in conversation with my grandfather about old cars. Yeah, this woman is perfect.

[celestialgaming]

Making a game about bugs :] this account is for sharing progress related to that and to share the pixel bugs I'm making along the way. This is a sfw space for people who want to follow along with this project or just enjoy looking at bug art :)

Premise of game:

- Turn game on

- bugs come :]

- add new bugs to your collection

- time advances automatically, different bugs come depending on at time/date/ temperature/weather/biome, use bait or light to attract different types

- let bugs run in the background and keep u company while u work

- over 500 different bugs :] maybe more depending on how silly I get with it

[baldursgaysart]

"Tell me, Sazza, did your misadventures take you to the Underdark”

After a month of art burnout…I have returned with a highly requested painting of minthara with Sazza. I have a few more I want to share too but I haven’t liked anything for awhile. This one was fun to make though. I hope you enjoy it.

[fibula-rasa]

Cosplay the Classics: Nazimova in Salomé (1922)—Part 2

My cosplay of Nazimova as Salomé

As the studio system emerged in the American film industry at the start of the 1920s, many of the biggest stars in Hollywood chose independence. Alla Nazimova, an import from the stage, was one of them. In 1922, she made a series of professional and creative decisions that would completely change the trajectory of her career.

In part one of CtC: Nazimova in Salomé, I described how Nazimova’s independent productions were shaped in response to trends and ideas surrounding young/independent womanhood in America after World War I and the influenza pandemic. Here in part two, I’ll fit these productions, A Doll’s House and Salomé, into the broader context of the big-money business of film becoming legitimate in America.

While the full essay and photo set are available below the jump, you may find it easier to read (formatting-wise) on the wordpress site. Either way, I hope you enjoy the read! Oh and Happy Bi Visibility Day to all those who celebrate!

My cosplay of Nazimova as Salomé

Artists United? Allied Artists and the Release of Salomé

When Nazimova made her screen debut in War Brides (1916), the American film industry was undergoing a series of formative changes. Southern California became the center of professional filmmaking in the US—fleeing New Jersey (where War Brides was filmed) largely because of Thomas Edison’s attempts to monopolize the business. Preferences of audiences and exhibitors shifted away from one and two-reel films and towards feature-length films. The Star System emerged in full force. Nazimova soon relocated to Hollywood, signed a contract with Metro, and reaped the benefits of this boom period for American film artists.

The focus on feature-film production and the marketing of films based on the reputations of specific filmmakers or stars required a greater initial outlay of resources—time, money, and labor. But, it also paid dividends—the industry quickly grew into a big-money business. The underlying implication of that is that a larger share of the profits were shifted from the people doing the creating (artists and technicians) and towards other figures (capitalists). In practice, this also meant film companies would become eligible for listing on the stock exchange and could secure funding from banks and financial institutions, both of which were rare or impossible before the mid-1920s. The major players on the business end of production, distribution, and exhibition, therefore, wanted to consolidate their power and reduce the power and influence of the filmmakers.

To illustrate how momentous this handful of years was in the history of the US film industry, allow me to highlight a few key events. Will Hayes’ office was set up in 1922 to make official Hollywood’s commitment to self-censorship. Eastman Kodak introduced 16 mm film in 1923, a move which, while making filmmaking more accessible and affordable, also widened and formalized the division between the professional industry and amateur filmmaking. Dudley Murphy’s “visual symphony” Danse Macabre[1] was released in 1922—considered America’s first avant-garde film. Nazimova’s Salomé was considered America’s first art film from its initial release in 1923. That these labels were deemed relevant in this period illustrates the line being drawn between those films and film as a conventional, commercial product. The concept of art cinemas in the US was first proposed in 1922 spurring on the Little Cinema movement later in the decade.

from Danse Macabre

from Salomé

As any industry matures, both the roles within it and its output become more starkly delineated. That is to say that, as the US industry began differentiating between art/avant-garde/experimental film and commercial film, the jobs within professional filmmaking also became more firmly defined. Filmmaking has always been a collaborative art, but in the period prior to the 1920s, it was common for people in film to do a little of everything. As a result, what sparse credits made it onto the final film didn’t necessarily reflect all of the work that was done. To illustrate this using Nazimova,[2] at Metro, she had her own production unit under the Metro umbrella. While her films were “Nazimova Productions,” she didn’t have full creative control of her films. However, Nazimova did choose her own projects, develop said projects, and contribute to their writing, directing, and editing. When those films were released, aside from the “Nazimova Productions” banner, her only credit would usually be for her acting. Despite that impressive level of creative power, the studio still had the ultimate say on whether a film got made, and how it would be released. As studios grew and tightened control of their productions, this looser filmmaking style became much less common.

The structure of the industry at this time was roughly tripartite—production, distribution, and exhibition. Generally speaking, the way studio-made films traveled from studio to theatre—before full vertical integration—was that the production company would make available a slate of films of different scales. (Bigger productions with bigger names attached would have a special designation and come with higher rental fees.) Famous Players-Lasky was the biggest production house at the time, though other studios, like Metro, were quickly catching up. Distribution companies would then place this slate of films on regional exchanges, centered in the biggest cities in a given region. Exhibitors (this could be owners of chains like Loew’s in the Midwest and Northeast, the Saengers around the gulf coast, or individual theatre owners) could then rent films through their local exchanges. (This was an ever-shifting industry, so this process was not true for every single film. This is only meant as a quick overview of the system.) As the 1920s wore on, exhibitors began entering the production arena and producers further merged with distribution companies and exhibition chains. Merger-mania was the rule of the day.

My cosplay of Nazimova as Salomé

As merger upon merger took place and a handful of businessmen tried to monopolize the industry, American filmmakers responded by championing the artistic legitimacy of filmmaking in the US. Leading this charge were the very filmmakers on whose backs the big business of film had been built. As noted in Tino T. Balio’s expansive history of United Artists, The Company Built by the Stars:

…Richard A. Rowland, president of Metro Pictures, proclaimed that ‘motion pictures must cease to be a game and become a business.’ What he wanted was to supplant the star system, which forced companies to compete for big names and pay out-of-this-world salaries for their services. Metro, he said, would thenceforth decline from ‘competitive bidding for billion-dollar stars’ and devote its energies to making big pictures based on ‘play value and excellence of production.’”

It’s notable for us that these ideas were espoused by Rowland, head of the studio where Nazimova was currently one of those “billion-dollar stars.” (“Billion-dollar” is obviously a massive overstatement.) It was a precarious time for any filmmaker who cared about the quality and artistry of their work. It was this environment that birthed United Artists, a new production company built around the prestige and reputation of its filmmakers, Douglas Fairbanks, Mary Pickford, Charlie Chaplin, and D.W. Griffith. As the statement announcing the formation of UA detailed:

“We also think that this step is positively and absolutely necessary to protect the great motion picture public from threatening combinations and trusts that would force upon them mediocre productions and machine-made entertainment.”

It’s an accurate assessment of industry trends at the time. If the desired product is a high-quality feature-length film, production is necessarily more expensive. As the UA statement intimates, monopolizing the entire industry and sacrificing quality for quantity to fill the exchanges and theatrical bills was the studio heads’ solution to rising costs. Not a great signal for filmmaking as art in America.

My cosplay of Nazimova as Salomé

So, Nazimova was in good company when she chose to go independent, believing in film as art and that American moviegoers deserved better than derivative, studio-conceived films. Some of the other artists who went independent included George Fitzmaurice (one of the most revered directors of the silent era, though most of his films are now sadly lost), Charles Ray, Max Linder, Norma Talmadge (in alliance with Sam Goldwyn), and Ferdinand Pinney Earle (whose massive mostly-lost artistic experiment Omar Khayyam, I profiled in LBnF). If these filmmakers shared the motivation of UA to create higher-calibre productions, where would the money come from? For Nazimova, the answer was her own bank account.

In 1922, Nazimova’s final film for Metro, Camille (1921), was still circulating widely due to the rising popularity of her co-star, Rudolph Valentino, after the release of Four Horsemen of the Apocalypse (1921) and The Sheik (1921). While Nazimova had the funds to complete A Doll’s House and Salomé, there was no sure bet for the films’ releases. Nazimova’s initial concept for her independent productions was the “repertoire” film. This scheme would have seen A Doll’s House released as a shorter film with Salomé as a feature and the two could be rented as a package by exhibitors.  It was a creative response to growing tensions between producers and exhibitors over a practice called block booking. Block booking was a strategy studios employed to leverage the Star System to its fullest. They would take the most in-demand films associated with the biggest drawing stars and only make them available in a package deal with productions that were perceived as less marketable. Nazimova was aware that her films at Metro had been rented this way (as the special feature). It’s not completely clear from my research if the decision to release Salomé and A Doll’s House as two features was creative, practical, or a combination of the two. The “repertoire” concept may not have gone according to plan, but it was an early indication that Nazimova was well-informed of the nuances of distribution and exhibition.

Nazimova’s need for proper distribution was met by United Artists’ distribution subsidiary, Allied Artists. United Artists’ first few years were a struggle. Fairbanks, Pickford, and Griffith[3] needed significant time and money to finish the high-quality productions that they promised and Allied was their solution. This distribution arm would release the work of other independent talent using the same exchanges as UA, but under a different banner. Though Allied used UA’s exchanges for distribution, the subsidiary had its own staff. Allied having different branding would also protect the prestige of the UA name. (An unkind, but not entirely inaccurate summary: the money your work brings in is good enough for us, but your work is not.) Allied would have a full release slate to generate the revenue that UA needed to remain in operation.

Nazimova was one of the filmmakers who signed a distribution deal with Allied and had reason to regret it—though she and Charles Bryant didn’t openly rag on UA/Allied.[4] Notably, Mack Sennett had arranged the release of Suzanna (1923) through Allied and was vocal about the company bungling its release. Differences over distribution and exhibition would also lead to Griffith’s exit from the company and a major rift between Chaplin and Pickford-Fairbanks. After 1923, Allied reduced its operation, at least in part because of the bad reputation they were garnering with other filmmakers. Despite numerous independents losing money on productions released through Allied, by 1923, Allied had netted UA 51 million dollars in revenue!

Trade ad for Salomé from Motion Picture News, 10 March 1923

The questionable deals that these independent filmmakers received with Allied are often mentioned in discourse about the period, but very, very rarely does anyone offer details of what Allied’s inadequate distribution looked like. Using the information available to me via Lantern, I collected and analyzed data regarding the release and exhibition of Nazimova’s final two Metro films and both of her Allied films.[5] Looking at the trade publications Exhibitor’s Trade Review, Moving Picture World, Motion Picture News, and Exhibitors Herald, I categorized every item I found about the release or exhibition of Billions (1920),[6] Camille, A Doll’s House, and Salomé. The “release” items are primarily advertisements, reviews, and news items about release dates or pre-release screenings. The number of these items for all four films were comparable. 

The items in the “exhibition” category, however, reveal a marked difference between the Metro and Allied releases. This category includes items like first-run theatre listings, exhibitor feedback, and advertising advice for theatre owners. Only counting exhibition items from the first two years (24 months) from the initial release of each film, Billions and Camille had twice as many items as A Doll’s House and Salomé!

While this isn’t necessarily hard data on how many theatres ran each film, it is a rough indicator of how well the films circulated. This data suggests that neither A Doll’s House or Salomé had distribution comparable to the Metro films. In order to compensate for the Rudy factor—Valentino’s major rise to stardom in 1921—which could have affected Camille’s numbers in a big way, I included Billions as well. Billions was sold as a special (a bigger production with premium rental fees) on Nazimova’s name alone. It was not especially well received. Exhibitors/theatre owners had mixed feelings on the film because Nazimova’s previous film, Madame Peacock (1920), had underperformed. Many exhibitors viewed Billions as an improvement, though it still did not meet their perception of Nazimova’s standard of quality. Despite that, Billions had 76 exhibition-related items across its first 24 months of availability to Camille’s 80.

To get a little deeper into this data, I wanted to see how the feedback from exhibitors and theatre owners compared. I broke down the exhibitor feedback for each film as positive, middling, or negative based on how the exhibitors assessed audience response and/or box office receipts. (I discounted feedback that only reflected theatre owners’ own personal assessment of the films without mention of their patrons or receipts.) Positive feedback could be good reception and/or good receipts, middling suggests only average business and no noteworthy reception, and negative indicates poor response and/or poor ticket sales. Since there are so many more items about Camille and Billions than A Doll’s House and Salomé, I compared ratios as an indicator of exhibitor satisfaction. The results were truly surprising.

Theatre owners who rented Salomé may have been in significantly smaller numbers than those who ran Camille, but their satisfaction with ticket sales and audience feedback was roughly equivalent. (Though slightly more positive for Salomé!) The numbers for Billions line up with the qualitative assessment I summarized above, displaying a roughly equal 3-way split. A Doll’s House was the most divisive with the highest proportion of negative feedback of the four films, yet with a higher proportion of positive feedback than Billions.

Taking all of this into account, it’s clear that Salomé did not flop because it was too artsy or esoteric for the American moviegoing public. Such assumptions are obviously not very thoughtful or informed by reliable data.[7] A more historically sound reading is that, as professional filmmaking matured into a “legitimate” industry in the US, the various arms of the business were rigidly formed to fit conventional output. The conservatism that this engendered made the American industry ill-equipped at marketing anything too unconventional or experimental. While Hollywood insiders were lamenting European filmmakers artistically outdoing Americans—especially following the US release of The Cabinet of Dr. Caligari (1920)—very few people with the power to shape the industry did anything to support experimentation. Given this environment, Salomé could only have been produced independently, but the quickly ossifying distribution and promotional systems didn’t have the range to give it a proper release. Two films contemporary to Salomé, Beggar on Horseback (1925) and The Old Swimmin’ Hole (1921) offer further evidence of the industry’s limitations.

The Old Swimmin’ Hole is a feature-length production by Charles Ray, experimental in that it uses no intertitles. The story is simple and familiar with Ray playing the Huck-Finn-type character he was well known for. Ray’s experiment was not an expensive one and the film was successful. However, decision makers at First National, the film’s distributors, felt that The Old Swimmin’ Hole was simply too complex for small-town Americans to comprehend and it wasn’t released outside of cities. To put it plainly, the distributor’s unfounded concept of ignorant yokels meant that a film about country living was largely inaccessible to anyone actually living in the country. Though the film was well received and turned a profit, this distribution decision likely limited its audience as well as possible revenue from small-town exhibition.

Stills from The Old Swimmin’ Hole from Motion Picture Magazine, April 1921

Beggar on Horseback was produced by one of the biggest studios in Hollywood, Famous Players-Lasky, and distributed by Paramount. Starring comedian Edward Everett Horton, Beggar was an expressionist comedy based on a popular play. The film had a popular star, popular source material, and was made and released by a major company, but Beggar was apparently too unconventional for that major company to adequately market it. (Unfortunately, only a few minutes of the film survive, so we can’t fully reassess it unless more is found/identified!)

Stills from Beggar on Horseback from Picture-Play Magazine, August 1925

With all these complicating factors at play, how might have Salomé found its audience in 1922-3? Nazimova and Charles Bryant had innovative ideas for the film’s release that might have done the trick, if they had been able to act on them. Nazimova and Sam Zimbalist had finished cutting Salomé in late-spring 1922. Having spent practically all of her money to finish the film, and following A Doll’s House’s disappointing results, Nazimova was eager for Salomé to hit theatres. Though the film was in the can and private preview screenings had been held by Bryant by summer ‘22, Salomé wouldn’t be released until February of 1923. In studio filmmaking, holding a film in extended abeyance wasn’t ideal but it was not disastrous. Studios had significantly more resources and revenue streams than independent producers. If, for example, the release of Billions had been delayed for seven months, Nazimova still had two films on the Metro exchanges (and therefore in theatres) and Camille would have entered production in the meantime. But for Nazimova as an independent producer, this situation was wholly untenable. (In fact, Pickford, Fairbanks, and Griffith were in a similar untenable situation when they founded Allied.)

Initially, Bryant proposed roadshowing Salomé. Roadshowing is a release strategy for notable film productions where a film is toured around major cities, often with in-person engagements by stars, writers, and/or directors. Nazimova expanded the idea of touring with Salomé not simply as a roadshow, but paired with a short play in which she would star. Double the Alla, double the fun. As far as I can tell, there isn’t publicly available information about why Salomé wasn’t roadshowed. However, we do know that Griffith, as the only non-performer in UA, wanted to utilize different approaches for the release of his films—like roadshowing—and it became one of the major points of disagreement with his fellow UA decision makers. That could be taken as an indication that something similar might have occurred with Nazimova and Allied.

As time dragged on without a release date for Salomé and Nazimova returned to theatrical work—openly admitting to audiences that she was broke—Bryant took matters into his own hands. At the end of December 1922, Bryant negotiated with the owner of the Criterion Theatre in New York City for Salomé to run on New Year’s as a special presentation. In two days, Salomé grossed $2,630, setting records for the theatre. Adjusted for inflation, that’s $48,988.96. It was successful enough that the owner of the Criterion opted to hold the film over. This bold move must have lit a fire under Allied’s tuckuses, as Salomé finally had its first-run release a little over a month later.

In the 1920s, the first-run booking of a film was a crucial part of its further success. Concurrent nationwide release of films wasn’t the norm yet, and if a film was a big production, getting booked at high-capacity motion picture houses in major cities was a necessity. These big city releases would, in theory, generate interest in the film with exhibitors across the country and internationally. Basically, if you spent a lot on a movie but couldn’t land a first-run release, you weren’t likely to turn a profit or even break even. Salomé had a handful of first-run bookings and local reviewers from those cities believed the film would succeed. A reviewer from the Boston Transcript in February 1923 wrote:

“…this newest Salome is something far better than a photographed play. Considered both as picture acting, and as an interesting experiment in design, “Salome” is a notable production. It will have a far and wide reaching influence on future films in this country.”

But, as I mentioned, only a handful of first-run theatres played Salomé, and, taken collectively, the notices I analyzed from contemporary trades imply that it didn’t gain traction once it was made available beyond its initial run.

My cosplay of Nazimova as Salomé

During this regrettably short theatrical run, exhibitors and reviewers from trade publications advised that Salomé was a unique film that called for unique promotion. The overall assumption was that theatre owners knew their patrons and recognised whether out-of-the-ordinary movies were popular with them. Rather than purely judging a film’s quality, exhibitors and trade reviewers had concerns specific to exhibition when providing feedback. These concerns cannot be overlooked if you want to understand their assessments. For example, exhibitor feedback was very often informed by how high the rental fees were for a film, even if exhibitors don’t directly mention said fees. That is to say, a mediocre film might be rated highly if the rental fees were modest (and if block booking wasn’t an issue). Reviewers in the early 1920s, both for popular magazines and trade publications, were already accustomed to the formulaic nature of most studio output. Their reviews commonly expressed fatigue with studio films’ lack of originality. And, perhaps surprisingly, this sentiment was shared among theatre owners as well—particularly when a run-of-the-mill film was sold to them as anything other than a “programmer” (a precursor to B-movies).

What I have learned, not just by analyzing feedback for Salomé, but also for all of the films in my LBnF series, is that when a 1920s reviewer calls out bizarreness in a film, it’s not always a negative quality, even when the review isn’t positive. In the case of reviews written for exhibitors/theatre owners, focussing on what makes a movie different is purely pragmatic. It guides how exhibitors might market films to patrons and helps exhibitors judge if a film would be suitable for their audiences. And, from that same research, I’ve found significant indications there were numerous markets throughout the US that were hungry for novelty—contrary to what studio apparatchiks wanted to admit. So, pointing out Salomé’s bizarreness was a recommendation for those markets to consider renting it as much as it was a warning against renting for theatre owners who only had success with more conventional films.

Cover of the Campaign Book for Salomé reproduced in Exhibitors Herald, 9 February 1924

In the case of Salomé, reviews and feedback upon its release focused on two major points:

 The film isn’t “adult” in nature. Well-known productions of Strauss’ opera and the 1918 Theda Bara film of the same name led to a presumption of salaciousness. (I talked a bit about that in Part One!)

The film deserves/requires a build up as an artistic event film.

Nazimova’s company helped exhibitors with the latter point in a few ways. The company provided Aubrey Beardsley inspired art posters conceived by Natacha Rambova and executed by Eugene Gise. They printed a book to guide promotion of an artistic spectacle. (So far, I haven’t been able to find a physical or digital copy, so I can’t assess how good the advice was!) Salomé was also distributed with an official musical score, apparently written for a full orchestra.

Art Posters designed by Rambova and painted by Gise as reproduced in Exhibitor’s Trade Review, 10 February 1923

The exhibitors who ran Salomé—and put at least some of this advice into practice—were satisfied with the business it did. By these accounts, the American moviegoing public was attracted by the novelty of Salomé, but what chance were they given to see it?

While this evidence of Allied’s poor distribution work may be circumstantial, it certainly complicates the narratives that Salomé was an unqualified flop or that average Americans weren’t (or aren’t) receptive to artistic experimentation. Given that Nazimova was not the only independent filmmaker who suffered from Allied’s inept distribution, it does seem like the underwhelming business Salomé did was due more to a poor choice of business partners than to any quality of the film or of American moviegoers. That said, with the increasing monopolization of the industry, Nazimova did not have a wealth of options.

Though Salomé was made and released at an tumultuous period for the US film industry, it did eventually find its audience through circulation in art cinemas. As the gap between experimental/avant-garde film widened in the US and the professional industry became less and less tolerant of departures from convention, Americans concerned with film as an art form rallied around amateur filmmaking clubs and art cinemas began popping up in cities by the middle of the decade. Salomé played in these theatres even after the advent of sound—occasionally even today. This is likely the key reason that Salomé survives and we’ve been able to continue to enjoy and reevaluate it one hundred years later.

Salomé is a significant film made at a significant moment in American film history. Nazimova took a major risk in going independent and personally funding two artistic projects. These films were founded on the beliefs that American moviegoers wanted art made by human beings with unique imaginations, feelings, sensibilities and that there was an audience for more than derivative, “machine-made” film. In my opinion, through close analysis of the circumstances of Salomé‘s release, we can see that Nazimova was likely correct, but didn’t get a genuine chance to prove it in her lifetime. Additionally, it’s important to note that Nazimova’s risks did not “ruin” her as is occasionally said. The state of her finances were more greatly affected in the 1920s by her fake husband’s habit of spending her money and by getting swindled by a pair of con artists over her estate, The Garden of Alla. Soldiering on, Nazimova continued to work in both theatre and film for the rest of her life and found more stability with the partner she would meet at the end of the 1920s, Glesca Marshall.

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Once I finished this “Cosplay the Classics” entry, I realized that it would way too much for me to include a section on another relevant topic to Salomé: Orientalism in Hollywood. But, I feel that the topic is too important to just edit that writing out. Look out for a shorter “postscript” entry soon!

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☕Appreciate my work? Buy me a coffee! ☕

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Footnotes:

[1] Danse Macabre is also thought to be a major influence on Walt Disney animating to music, as seen in “Silly Symphonies” and later Fantasia (1940) and Disney’s other musical anthology features. It was also in this period that Disney fled from his debtors in the Midwest to California with his first “Alice” movie. However, the wide-ranging effects of Disney’s business practices were not felt until much later, so that’s another story for another time!

[2] Nazimova was one of a handful of women in Hollywood at the time who held significant creative power. June Mathis and Natacha Rambova, both of whom Nazimova regularly worked with, Mary Pickford and her regular tag-team partner Frances Marion are among some of the others.

[3] Chaplin wouldn’t produce a film for UA until 1923’s A Woman of Paris, as he was fulfilling a pre-existing contract with another studio.

[4] According to Gavin Lambert’s biography of Nazimova (which I discussed as a largely unreliable source in Part One), Robert Florey supposedly advised Nazimova against signing with them, citing Max Linder and Charles Ray as artists who had been “ruined” by their deals. However, the timeline does not quite match up. Though Florey did visit the set of Salomé, Nazimova had already signed the Allied deal by then and Ray had not finished The Courtship of Miles Standish (1923) when Salomé was in production. In fact, there was almost a year and a half between the completion of Salomé and the release of Standish. Whether this was a lapse of memory by Florey or misreporting by Lambert, I can’t be sure.

[5] Originally, I wanted to include Madonna of the Streets (1924) in my comparisons but, at the moment, Lantern has gaps in their Moving Picture World archive for 1924-5. I didn’t want to draw conclusions from incomplete data.

[6] Billions was also a Rambova-Nazimova collaboration. Rambova designed a fantasy sequence for the film.

[7] A mindset that’s still common among commercial media outlets today unfortunately. I could rant and rant about “content” and “content creation” all day but that’s another story for another time.

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Bibliography/Further Reading

(This isn’t an exhaustive list, but covers what’s most relevant to the essay above!)

Lost, but Not Forgotten: A Doll’s House (1922)

“Nazimova in Repertoire” in Motion Picture News, 29 October 1921

“Alla Nazimova Plans for Her New Pictures” in Moving Picture World, 29 October 1921

“Nazimova Abandons Dual Program for Latest Film” in Exhibitors Herald, 24 December 1921

“Plays and Players”in Photoplay, February 1922

“PICTORIAL SECTION” in Exhibitors Herald, 4 February 1922

“New Nazimova Film May Be Roadshowed“ in Exhibitors Herald, 15 April 1922

“Newspaper Opinions” in The Film Daily, 3 January 1923

“Splendid Production Values But No Kick in Nazimova’s ‘Salome’” in The Film Daily, 7 January 1923

“Claims “Salome” Hit New Mark at N. Y. Criterion” in Exhibitors Herald, 27 January 1923

“Salome” in Exhibitors Trade Review, 20 January 1923

“Nazimova in SALOME” in Exhibitors Herald, 27 January 1923

“Nazimova Appeals To Exhibitors In Behalf of ‘Salome’” in Exhibitor’s Trade Review, 27 January 1923

“Novelty Features Paper and Ads for ‘Salome’” in Exhibitor’s Trade Review, 10 February 1923

“SALOME’ —Class AA” from Screen Opinions, 15 February 1923

Nazimova: A Biography by Gavin Lambert (Note: I do not recommend this without caveat even though it’s the only monograph biography of Nazimova. Lambert did a commendable amount of research but his presentation of that research is ruined by misrepresentations, factual errors, and a general tendency to make unfounded assumptions about Nazimova’s motivations and personal feelings.)

Lovers of Cinema: The First American Avant-Garde 1919-1945 ed. Jan-Christopher Horak (most notably, “The First American Avant-Garde 1919-1945” by Horak, “The Limits of Experimentation in Hollywood” by Kristin Thompson, and “Startling Angles: Amateur Film and the Early Avant-Garde” by Patricia R. Zimmermann)

United Artists: The Company Built by the Stars, Vol. 1 1919-1950 by Tino Balio

[barracuda-shark-games]

Q&A - The Bodyguard (Amis)

In chapter 1, players will meet 3 of 6 major characters in Bethroned with whom the MC will develop a relationship. Whether that relationship is platonic, romantic, or hostile in nature will depend on players' choices.

In case you missed it, a sneak peek into the first of those three characters, Amis the Bodyguard, dropped on Friday.

As promised, here are answers to some of the questions I have received since then, presented below the cut. The answers are free of story spoilers and mostly pertain to fun details. That said, questions that contain lore spoilers will be preceded by a warning.

Enjoy!

Spoiler-free answers:

Do you have a Pinterest board for Amis?

I do, but it's private because I mostly use it for my own inspiration. Pinterest is littered with a lot of AI art (of which I'm not fond) and its users can be bad about crediting artists; if I were to make it public, I'd want to make sure artists are credited, and I usually don't vet it when I'm simply saving an image to a board for inspiration and not to share. That being said, here are some credited images that kind of evoke him His appearance (note: his eyes are hazel) His armor (source: Loras Tyrell in GoT; specifically the cloak motif) Additionally, sometimes I reblog posts on tumblr that remind me of my characters. For Amis, you'd find any such posts tagged as #insp: amis.

Where would Amis fall on the McDonald's Alignment Chart?

He'd be somewhere between the kids shouting "McDonald's! McDonald's! McDonald's!" and the parent saying "We have food at home." Leaning more towards "McDonald's!" chanting, of course.

What's his D&D alignment?

Neutral good.

If Amis was an animal, what would he be?

A sea otter: cute, but capable of vicious brutality.

How does Amis best give and receive comfort?

When giving comfort, Amis prioritizes being physically present first, and offering the comfort of touch second. When he sees someone he cares for hurting, his immediate instinct is to hug them tight, but he's able to repress the urge in order to gauge what they're comfortable with. It physically pains him when he can't be present when someone needs him. Similarly, Amis feels comforted by presence and touch; it helps ground him more than words can. He especially feels comforted by having someone pet/play with his hair.

How would Amis react to a shy MC just nervously asking for a kiss while blushing up a storm and avoiding making eye contact with him?

If they'd never kissed before: He would break out into a delighted smile and reach for their hand. Once given, he'd bring their hand to his lips while bowing, looking at their face the whole time. If they proceeded to say that's not what they meant by a kiss, then he would gently ask them to look him in his eyes and ask him again. He'd want to see that they really want it. If they'd kissed before: He would reach out and gently tilt their head towards him and trace the bottom of their lip fondly. "Always," he'd say with a smile before softly meeting their lips with his own.

How would Amis react to a MC who is off in their own little world just playing with his hand before slotting both their hands together and holding it, just looking happy with themselves and not noticing that Amis was watching them?

He'd have a huge smile on his face and end up squeezing their hand without thinking about it. He'd be lost in his own little world, captivated by the MC.

Minor lore spoilers:

What would romanced Amis say if the MC asked him, "Would you still love me if I was a worm?"

(Assuming they meant if they were turned into a worm.) He would frown at the thought and say, "I would be really sad if you turned into a worm..." Then his eyes would light up. "Oh! But I'd know just where to take you. My sister owns a beautiful vineyard in Korcome and the soil would be so rich and wonderful for your needs! They get a decent amount of rain there, too." After a pause, he'd add, "Worms like rain, right?"

Can you tell us more about Amis' homeland?

Amis grew up in Korcome, which was absorbed into the Dawn Empire 7 years before the game takes place. Korcome is famed for its vineyards; it's soil is amazing for growing grapes. It's also known for its olive trees. Aesthetically speaking, its best real-world analogue is Greece. Korcome was never a kingdom or empire; it's always been a society bound by barons and wealthy land owners with alliances and their own private militaries. Basically, before joining the Dawn Empire, Korcome operated like feudalism only without a central figure. This contributed to instability and corruption at every level; crime guilds run rampant in Korcomian's biggest cities. This is, in part, why even the barons and baronesses of Korcome were eager to be absorbed into the Dawn Empire -- they knew that they would be able to hold onto their titles and deeds while being able to benefit from the Sun Throne's protection and leadership.

What does he do in most of his free time?

Amis really enjoys baking, and he's quite good at it. He's especially talented at baking sweet treats! He doesn't get much opportunity to bake, however, seeing as he doesn't have his own kitchen and the royal kitchens are often busy. Instead, he mostly spends his free time reading new cookbooks, and writing letters to his mom and sisters back in Korcome. He also likes to go out into the city and peruse bakeries and market stalls for inspiration.

What are his thoughts on the war and the MC's betrothal?

Amis doesn't really know much about the war so he doesn't have much of an opinion. He's just glad it's over. Similarly, he doesn't know much about the betrothal or how noble alliances work. If he doesn't understand of have firsthand knowledge about something, he's unlikely to develop a strong opinion on it.

How does Amis feel about the Dawn Empire?

He likes the Dawn Empire well enough, especially because things have become safer back home for his mom and sisters. The stability has been such a relief; it's part of why he was happy to join the Dawnguard.

Has Amis ever been in love before? How much experience does he have?

Amis develops crushes quite easily, but he's never been in love. He's had a few relationships in his time, but none have lasted particularly long. He prefers committed relationships to casual flings.

Job title aside, if he could save only one, would he choose the MC or the world?

Ohhh now this is a tough one. I'm going to have to say it depends on whether or not his mom and sisters are still around. If he didn't have his family to worry about and he was in love with the MC, he would absolutely choose the MC.

[vee-is-a-clown]

I recently started playing Pony Town I couldn't resist trying to make Klance ponies

[ruporas]

bound to want (part two) /// part one rest of pages under READ MORE after ID

[ID: 23 page digital comic of Vashwood from Trigun Maximum. The comic is in a limited palette of a dark blue, light pink, white, black, and a light beige color for Vash's skin and a mid-brown color for Wolfwood's. This comic is the second part to "Bound to Want" and is spoiler-free. The first part is linked here.

It begins with a panel close up of Vash's expressions. The sky colored in dark blue can be seen behind him. He has a neutral expression, but he holds a slight frown and the reflection of his glasses covers one side of his eyes. Wolfwood says, "Hey. What's with the distance?" In the second panel, the shot widens to show both of them, a clear physical distance separating them with Wolfwood walking ahead and Vash trailing a little behind. Vash responds, "What? I'm just walking a bit slower today..." Wolfwood looks at him with a an irritated expression, clicking his tongue. Wolfwood says, "I was going to wait for you to start... But yer just running away away."

Vash is seen looking away, unable to hold eye contact with Wolfwood as he continues, "You've been avoiding me since that night. Did ya think I wouldn't notice? It's about that dream, right? Tell me about it already if you're going to be moping like this." Vash looks slightly downwards, his brows furrowing and he starts to walk ahead of Wolfwood without looking at him and responds stiffly, "I really don't want to talk about it..." Wolfwood looks at him with a surprised expression, but doesn't probe.

A panel close up to Wolfwood's eyes as he watches Vash go on ahead before he follows suite with an irritated sigh. The panels are overlapped by Wolfwood's hand holding the bottle of the Bride with motion lines, indicating a transition in time.

A wide shot of Vash and Wolfwood in a room now. Vash is seated, his back turned away from the viewer, while Wolfwood's body faces the viewer with his eyes looking towards Vash. He rests the bottle of the Bride on the table with a "clack" and his other hand holds two shotglasses. The background is coated in a light pink.

A panel shows a close up of Wolfwood's face, his eyes looking downwards to Vash as he says, "Let's drink." Next to this panel is Vash looking up at Wolfwood, his brows furrowed and a slight frown. The bottom half of the page is a wider shot with Vash's body turned away from the viewer as he says, "I'm not going to talk about it." Wolfwood responds, "You don't have to." as he sits down.

A wide panel of Wolfwood holding the shotglass, pouring in the drink as he continues, "I'll talk." The next panel is a profile view of Wolfwood, his eyes looking down at the now filled shotglass as he continues to say, "You're..."

"... upset with me." Vash can be seen next to this speech bubble with narrowed eyes, looking towards Wolfwood. The panels are all coated in with a dark blue background. Wolfwood continues, "I can't be certain why since yer not telling me a thing -- but it's probably... my bad." The panels show Wolfwood about to bring the shotglass to his mouth but he turns way as he continued to speak, his eyes not on Vash. The bottom page shows him looking away completely with a guilty expression as he says, "I'm sorry.

If you can ever tell me why, I can try and adjust to make it more bearable. But if you're just trying to get rid of me--" The panels follow Wolfwood's certain expression as he says this, "I don't intend to leave you. I can't... and I won't." A panel shows Vash's wide-eyed expression, surprised upon hearing this, and then his eyes soften as Wolfwood again concludes with, "I'm sorry."

Vash's inner thoughts begins, a boxed speech at the center of the page and panels of his eyes, his brows furrowing again and a resigned, but frustrated expression. His thoughts starts, "Stop. I shouldn't be happy hearing that. And why are you apologizing? I should be the one to..! I can't let anything like that happen to you. You deserve to live a long steady and peaceful life. I want to be optimistic. I want to protect you, but I might end up doing the opposite." The text surrounds Wolfwood from Vash's perspective, the other man drinking out of his shotglass, his eyes downcasted.

"I shouldn't have you. And you won't leave." Behind these text is a panel of Wolfwood's eyes finally looking over to Vash. Vash's thoughts continues,  "It's so unfair." When Wolfwood sees Vash, his eyes soften and he frowns. The last panel shows the lower half of Vash's face, but tears begins to flow down his cheek. Wolfwood's hand is already reaching to wipe at them as he starts to say, "You know..."

A wider shot of Vash and Wolfwood, Vash slightly leaning forward with his mouth tightly shut, and tears steadily continuing to flow out of his closed eyes. Wolfwood continues to wipe at them with his hand as he continues, "This isn't a dream anymore. I don't know what you saw for you to be this shaken up, but whatever happened, you'll overcome it, right? If not you, I'm here too. You'll be okay, Spikey. So..." Wolfwood's expression grows more tender, "Have a little faith in me... and come back already." The dark blue starts to fade.

The wide panel has the dark blue background faded and replaced is the light pink. It shows Vash in full up to his shoulders, his eyes are still tears littered, but there's light in them as he says, "Wolfwood..." making eye contact with the other. The next panel shows Wolfwood's tender expression, his eyes and brows fully soften and he has a small smile on his lips, finally seeing the other return a level of sincerity with him.

The next panel shows the bottom half of Wolfwood's face and his hand is offered towards Vash for a dance as he says, "C'mon. We don't have to talk, but this is okay, right?" The background is now white and a ribbon flowing across the page separates this panel from the next sequence. Vash's inner thoughts continus, "I've spent too long avoiding this. It's scary to want after I've taken so much from others." A sequence close up of their hands is shown, with Wolfwood's outstretched hand on the right and Vash's reaching hand on the left. Vash gently places his hand in Wolfwood and at the bottom, Wolfwood wraps his fingers across Vash's.

Throughout the page, a dark blue ribbon starts to flow around the both of them with confetti raining alongside the effect. Vash and Wolfwood are hand and hand, dancing together with Wolfwood as the lead. The viewer can see a peak of Vash's expression, full of fondness but also a hint of sorrow as he looks down at Wolfwood. His inner thoughts continue, "I don't deserve this. I don't deserve you. But why is that even though I have these burdens, I still want to love you. I still want you to be by my side."

With a close up of their mouths, Vash's thoughts continue, the text covering his mouth, "Wolfwood, I--" Wolfwood's speech bubble covers Vash's text as he completes his sentence, "want you." Vash's eyes widen for one panel and in the next, his eyes spark, a blush appearing on his cheek and the confetti flows and spark. Tears ease up on his eyes again.

"Want me too already, Spikey." Wolfwood has leaned in enough to rest his head against Vash, a hand of his on Vash's neck, holding his nape and another hand pressed gently against his back. A ribbon separates this panel from the next, a mix of confetti flows across the page, as Vash envelopes Wolfwood in a hug too, holding him and his hand gripping tightly onto his back.

This page is just the ribbon flowly throughout the page on the white background, one white ribbon and the other a dark blue. Near the bottom, the ribbon envelopes each other in a loop. A conversation of Vash and Wolfwood is held over these ribbons, Vash starting to say, "What if I hurt you? What if you..?" Wolfwood responds, "You? How could you hurt me?" Vash, "You know what I mean... You see it everyday..." Wolfwood responds, "If you think I'm going to kick the bucket so easily, I suggest you look at me more closely from now on, idiot. I'm not that easy to get rid of."

The next page has the ribbon criss cross over the top of the page. Vash and Wolfwood can be seen in their dancing position again, Wolfwood now resting a hand on Vash's shoulder, as Vash takes the lead. Vash continues, "Well, I know that... I tried." Wolfwood responds, "But you won't anymore... since you want me... around, yeah?" Wolfwood's head cocks to the side, smiling with assurance, cheeks flushed. Vash looks at him with a wide smile and fond, loving eyes. The confetti flows across the bottom of this page and as it eases into the next page, it starts to disappear.

Vash responds, ".. Yeah... I do..." as he pulls Wolfwood into a hug again. Wolfwood says, "Not going to run away anymore, are you?" Vash says, "No... I trust you." A panel shows Wolfwood's turning away slightly with a shy expression, muttering "Geez..."

In a more simplified style, Wolfwood is seen gripping Vash's cheeks now with his hand, "Though... You do remember you avoided me for two weeks straight, right? How are you going to make that up to me?" Wolfwood asks. Vash responds with eyes closed and a pucker of his lips. A vein of irritation appears on Wolfwood's face. Wolfwood starts to squeeze at Vash's cheek with both hands, shouting, "Now that you've recovered, you're trying to be funny, huh?!" Vash says through the squished cheeks, "I'm just happy..."

The next page opens with a closed up panel of Vash's widen eye as Wolfwood's hand moves from squishing his cheeks to gently holding them and Wolfwood leans in. The inner thoughts starts again, "There's a chance I'm not making the right choice... My dreams, my fears of losing you, it will never go away. But you said you won't let it happen... And I want to hang onto your words closely this time. After all, if it's anyone who can make me believe, it's you."  The white ribbon from previous pages flows across the page and it visibly ends at the bottom of the page, enclosing the two of them as they share a gentle kiss with Vash holding Wolfwood's face, a tear in his eye.

The next pages starts with Wolfwood saying, "You cryin' again?" Vash responds, "I'm just grateful..." Wolfwood responds, "But you've always had me." Vash responds, "Being like this is different from staring at you from behind all the time though..." The two can be seen together again, Wolfwood pressing his elbows against the table with Vash leaning over him. Wolfwood is easing the tears out of Vash's eye again, just like earlier. A close panel of Vash's fond expression is seen as he says, "Thank you, Wolfwood." Wolfwood looks up at him with a small smile, gentle eyes. Confetti starts to flow lightly across the page as text starts to appear against the white background, "I'm the one who's grateful...

That you'd embrace someone like me, when I'm not fit to hold you in the first place... But I know better than to hesitate. The moment I acknowledged it, I knew I'd spend the rest of my life loving you. So, have as much of me as you want, Vash."

The final page shows the confetti gently falling down the page and at the bottom shows Vash and Wolfwood pressing their foreheads together, Wolfwood's hands cupping the side of Vash's face gently, and both of them smiling brightly with each other. ID END]

[humming-fly]

Happy to report I have finally started listening to Malevolent and to no one's surprise I am already obsessed (I'm almost done with s2 atm please don't send me spoilers yet sdlkfj)

I'll skip over my usual formality of having one normal art post before diving into shitposts let's not waste anyone's time here

[aether-weather]

art block amys :]

[finngualart]

im gonna write my thoughts about this in the tags

[foldingfittedsheets]

I used to worry people wouldn’t like my silly nsfw stories if they followed me for cute long gay comics and now that two of my sex shop stories are blowing up I’m fretting all the new followers will get annoyed about the long gay comics.

Repeating my mantra: this is my blog and I post what I want to.

[yuseirra]

made a collection of my recent onk fancomics and updated it on my pixiv!! If you want to read it in bulk, it may be easier to do it there (I make these for my own convenience too..it's easier to check just how much I've drawn so far altogether!)

This one in particular has a lot of wholesome pieces in it, I feel :) I hope I can keep drawing more things like that because I feel that's what I'm really good at.

I could draw this much thanks to all the kind words and encouragement I've received!! It really helps!! Thank you very much!!

[beebfreeb]

do you have any docs about the conlang and/or conscript? i just found your art and that immediately stood out as incredibly cool. i wanna write some funny stuff

The majority of my conlang stuff is written on graph paper held together with a paperclip or a spreadsheet file on my computer, so I do not have much easily accessible to share. Hm...

The vocabulary is currently... quite measly ever since I bulldozed everything and killed it all dead. So fleshing out vocabulary and whatnot is what I have to work on next. Grammar is similarly rudimentary but it was never intended to be very complex. A lot of information wouldn't be encoded verbally, only through pheromones and body language.

[hrokkall]

Misfortune

[PART 1]