#or just like the previous two months:

[powerfulscribbles]

Hot take: Even though I love that he beat the Miquellallegations, pre-dlc Mohg was so much better and had a lot to go for in terms of power, potential and how conniving and dedicated he was to achieve his goal. I miss him.

Also the premises for a Lord of Blood ending were right there. It would've been an interesting alternative option where you as a player, not only as a Tarnished, are giving up both your role as main character and your quest to become Elden Lord, thus letting someone else seize that opportunity.

I understand Miquella's plan for godhood and the creation of a gentler world (which is still ultimately destined to fail if we intervene and avoid having our heart stolen by him), but it removed so much agency from Mohg in particular, in my opinion.

[yuridovewing]

oh god another reason yellowfangs secret is inaccurate and shouldnt count: boulder is just a regular allycat and joins shadowclan when yellowfangs a baby on a whim when in tpb its a massive plotpoint that hes ex bloodclan and scourge knows him personally and theres no way in hell that that works with the timeline

[sydney-carton-of-sour-milk]

The Many Illustrators of A Tale of Two Cities 7: A. A. Dixon

"'Collins' Clear-Type Press, let me ask you a question.'"

This is a very long post.

This week's edition has, in my research, become quite the edition.

Sadly, this image is the best source for the cover wrapper illustration that I could find.

You are likely familiar with Arthur Augustus Dixon's illustrations for the 1905 Collins Pocket Edition of A Tale of Two Cities. Several of them are very common to find in Internet searches and articles about the book, if not other editions of the book itself.

But the question raised by my research for this week's edition is: Are you familiar with all of them?

Thing is, as the source above states (read the whole article if you have the time, it's very interesting!), Dixon created twelve illustrations for this novel.

And sure enough, this source from the Internet Archive and this source from @oldillustrations (hello!) both have eleven of the same illustrations - with the twelfth presumably being for the wrapper, as seen in this source (previously cited) from the Victorian Web.

Alright, so that's three separate sources, all with (effectively) the same set of elaborate illustrations from 1905. Neat!

...

...but if you start counting...

...you'll notice that this seems...

...like a lot more than twelve!

Basically, there are five illustrations by A. A. Dixon that are completely unaccounted for in any of the three sources previously cited.

For the purposes of this post, the cover wrapper is considered #0 and is not pictured in these banners.

In full-size set of illustrations in this post, this source from Google Books is the source of four of those mystery illustrations:

#3: "'He stared at her with a fearful look.'" #6: "'Drive him fast to his tomb.'" #7: "He said, 'Farewell!'" #12: "'She appeared with folded arms.'" #9 ("'Patriots and friends, we are ready!'") and #11 ("'You are consigned to La Force.'") are sourced from Google Books in the full-size versions in this post simply because the Internet Archive versions of those two illustrations had cropping issues.

To me, this is mystery enough on its own. Why would another version of the book suddenly have more than the originally-stated number of illustrations by this artist? Especially considering that the Google Books source does not have #13 ("''I know you, Evremonde!''") - why would it be missing one of the "main" set?

It gets even more interesting.

As you'll notice in the banner, we're still one off: Keen-eyed observers of the full-size set of illustrations might have already noticed that #14 ("'Carton and the spy returned.'") looks a bit different than the rest of them - a bit like what happened in the previous edition of this series!

That's because that Dixon illustration comes from this completely random source - a post from a blog called the Paperback Palette dating back to 2018 - that I happened across on Google Images of all places while sitting on an airplane trying to set up this post last week!

And to top it all off, that source is missing #6!

At this point, if your first instinct is, reasonably, that perhaps Dixon didn't actually illustrate these extra five and that it was someone imitating him for later editions, then know that that was my instinct too - until I (dare I say it again) checked those signatures!!!

(I edited the colors to prevent flashing.)

All five of those illustrations bear Dixon's signature, so it's safe to assume that they are A. A. Dixon originals - from 1905, even.

Interestingly, #s 1, 10, 13, 15, and 16 don't have signatures! Does this mean anything? Probably not - as an artist myself, I often forget to put my own signature - but still, I can't resist mentioning it!

So the most likely explanation here is simply that the publishing house originally commissioned A. A. Dixon for more than twelve illustrations and then held on to some of them, eventually choosing to publish them in other editions. Still, we can't say for sure.

And as to why some are missing from the more "complete" sets - human error, most likely!

If you scrub through the Google Books source, you'll notice that #s 11 and 12 actually repeat (one even changes color, which I have no explanation for) - it's most likely either that the book was accidentally printed with repeats of #s 11 and 12 where 13 and 14 were supposed to go or that the person scanning this edition made a similar error.

As an aside, it's so interesting that the illustrations are evenly spaced throughout the book - I had not noticed that until now!

And as for the Paperback Palette source, it's most likely that the blogger accidentally skipped over an image while combing through their edition or just glossed over it when posting the batch (I understand that from experience!) We can see this by adding up the letters in some of the illustrations' captions - doing so reveals that the letters are meant to go to P, the sixteenth letter of the alphabet.

Thus, one must be missing! Case closed!

Except... It's actually (going by both the chronology of the book and the order in which this set was found in Google Books) missing the wrong letter! Here, it seems that In the Google Books source, #7 in the full set is given the seventh letter in the alphabet, G - whereas in the Paperback Palette source, "#7" is labeled as the sixth, F:

This implies not only that #6 is absent from the Paperback Palette source but also that there is a missing mystery illustration located between this source's H and K - that is to say, before or after #9!

EXCEPT... For one, this isn't the only inconsistency I've noticed - there are several places where the letters seem shifted in a strange way. I've seen #2 listed as "C" and #9 listed both as "H" and "I2i" (???), just as two examples. (My theory is that the cover wrapper and the frontispiece may be at play here, but who knows?)

More importantly, though, it seems that, for some mysterious reason, all of the sources with relatively consistent use of these letters (i.e. all but the Victorian Web) - even the sources with only eleven interior illustrations - still give #15 in the full set the fifteenth letter, O. Which, of course, may make all of this pretty moot anyway.

Dare I say..."Oh."

Suffice it to say, just as much as major sources like the Internet Archive and Google Books are vital to this sort of research and preservation work, so are smaller websites and bloggers! After all, without the Victorian Web and the Paperback Palette, we as collective netizens likely wouldn't have ever known about the cover wrapper or illustration #14 (not to mention that the versions of the illustrations from the set posted by @oldillustrations have by far the best image quality and standardization that I've found! Please go check them out if you haven't yet!).

As for the reasons behind Collins' Clear-Type Press not publishing all of the illustrations from the beginning (if that's the explanation we're to go with here), I suppose the question I'd like to ask is:

why? why would you put us through this?

& the standard endnote for all posts in this series:

This post is intended to act as the start of a forum on the given illustrator, so if anyone has anything to add - requests to see certain drawings in higher definition (since Tumblr compresses images), corrections to factual errors, sources for better-quality versions of the illustrations, further reading, fun facts, any questions, or just general commentary - simply do so on this post, be it in a comment/tags or the replies!💫

[greatgoddyke]

some bobbles (+ two unfinished things)

[fingertipsmp3]

This is the spiritual successor to Four Seasons Landscaping. To me.

[kyouka-supremacy]

(´･ᴗ･ ` )

[spearxwind]

.

[teagrammy]

I’ve now had two students make callbacks to previous units, is this what success feels like??

[nygleskas]

actual op making the character green is not helping my case

[guinevereslancelot]

just wrapped the first christmas present of the year ❤️

[girlscience]

screaming crying blowing up

[patchesjam]

to this day i still don’t know how people thought it was reasonable to have such a negative reaction to a merch flashdrive with silly pictures

they couldnt care less about the merch, its because dream did it

[sydney-carton-of-sour-milk]

The Many Illustrators of A Tale of Two Cities 16: Richard M. Powers

...& I've saved the spookiest of this month for last...

Richard M. Powers was an illustrator best known for his many, many illustrations for the covers of science fiction novels.

For this last week of the spooky subseries, we look at his work on this 1962 edition of A Tale of Two Cities.

(As a brief note, some of the images have a blur in the edges of the pages - this is because the book was huge and barely fit on my scanner.)

"The figures of a horse and rider came slowly through the eddying mist, and came to the side of the mail, where the passenger stood."

"'Now your dinner is done,' Carton presently said, 'why don't you call a health, Mr. Darnay; why don't you give your toast?'"

"He threw out a gold coin for the valet to pick up, and all the heads craned forward that all the eyes might look down at it as it fell. The tall man called out again with a most unearthly cry, 'Dead!'"

"It lay back on the pillow of Monsieur the Marquis. It was like a fine mask, suddenly startled, made angry, and petrified.'"

"He had a strong idea that the coffin he had seen was running after him; and pictured as hopping on behind him, bolt upright, upon its narrow end."

"'I make a circuit by the prison, on my way to my work. There I see him, high up, behind the bars of a lofty iron cage, bloody and dusty as last night.'"

"The Château was left to itself to flame and burn."

"'We have borne this a long time,' said Madame Defarge, turning her eyes again upon Lucie. 'Judge you! Is it likely that the trouble of one wife and mother would be much to us now?'"

"'Her eyes were dilated and wild, and she constantly uttered piercing shrieks, and repeated the words, "My husband, my father, and my brother!" and then counted up to twelve, and said, "Hush!"'"

"The two stand in the fast-thinning throng of victims, but they speak as if they were alone. Eye to eye, voice to voice, hand to hand, heart to heart, these two children of the Universal Mother,"

And so we close out October. I've been so looking forward to sharing all three of these sets here this month - I hope you've enjoyed as much as I have!

& the standard endnote for all posts in this series:

This post is intended to act as the start of a forum on the given illustrator, so if anyone has anything to add - requests to see certain drawings in higher definition (since Tumblr compresses images), corrections to factual errors, sources for better-quality versions of the illustrations, further reading, fun facts, any questions, or just general commentary - simply do so on this post, be it in a comment/tags or the replies!💫

[hecateisalesbian]

The Pride of June: Pansexual

Todays Art Piece (Bottom) was made by @artkittycatty. Please go check out their blog and support his work :)

The Pansexual Flag is the Flag used it to describe someone who is attracted to everyone regardless of gender. These people are often called Genderblind and is the most known sexuality outside of the LGBTQ+ acronym!

Fun History Fact: The term “pansexual” was first coined in the early 1900s. However, the concept of pansexuality has been around for much longer. In fact, many ancient cultures recognised that people could be attracted to more than one gender. The term “pansexual” has been gaining popularity recently as more people begin to identify as pansexual.

Tumblr User: @honeymilkhijinks, @notsofunsenpai, and @artkittycatty

Media Character: Ally (Amphibia), Blitzo (Helluva Boss), Willow Park (The Owl House), Rose Quartz (Steven Universe), Rick Sanchez (Rock And Morty), Mal (Descendants), Deadpool (Deadpool), Crowely (Supernatural), Klaus Hargreeves (Umbrella Academy), and Loki (Marvel Comics) are ALL Pansexual Characters!!

Why the colors? Pink represents attraction to women, the Yellow represents attraction to non-binary people, and the Blue represents attraction to men.

Where can I find the calendar? The calendar is my pinned post on my blog @hecateisalesbian! This will be occurring all throughout June, and tags such as #The Pride of June and #PoJ Project can be used to find my post

[unreadpoppy]

Nebulizing a dog is harder than it sounds let me tell you that

[ikishima]

.