#sophisticated composition

[alexandr-az]

Das Kunstwerk ist wie ein buntes Regenbogenbild. Die Farben tanzen zusammen und machen die Augen fröhlich// The image of a beautiful black women face is visible in a thick fog, gradually flowing through the ruffles of a dress with a neckline, half-turn ,a wall of light mucus in full screen, stretches, a smooth surface is visible, the structure of a female face is visible through it a light layer of mucus, Midjorny Style, poster, illustration, 3d render

[saviourkingslut]

sometimes i listen to tchaikovsky's music and i get so emotional not simply bc of the music but bc of the thought that he existed and felt and created it and i get to listen to his heart a little like that. listening to the gentle warmth and exuberance of the nutcracker and im like he made that! for us! i love you

[choochooboss]

Sketch dump! Vol. 5

September 2022 (Part 1/2)

The first piece on top summarised my cosplay rush for Tracon 2022! The second is an old idea for a charm.

"SURPRISE!!"

Back in 2022 I hosted an art raffle for reaching 777 followers on Twitter! The winner would get their submas themed idea realised (which was their friends throwing a surprise party for the twins!). I wanted to make a little comic and have the bosses walk in their office where depot agents, Elesa, Drayden, Skyla, Clay etc. would be waiting with decorations and treats and games.

Emmet is all smiles of course while Ingo gets so emotional he could only whisper a "super bravo".

Not really headcanons anymore but still funny ideas.

1. Emmet gets clumsy when off-rhythm! He starts walking in curves if there is nobody else around to match his rhythm with.

2. Emmet spaces out/forgets to say things aloud when someone speaks too long or when things go off-script! His thinking gets interrupted easily.

3. Ingo sometimes bumps into doors because he is too used to automatic doors!

4. When things go off-script Ingo speaks too much and rushes in straight lines"

Also my little inexpensive sketchbook & my trusty tools! Mechanical pencil and eraser pen are life when scribbling my skrimblos smaller than a postage stamp!

More Ingo~ I utilise a wide range of sources for references, including CSP's poseable 3D models, they can come really handy with perspectives and proportions!

The second piece is my very first attempt at cosplay in Tracon 2022: Blingo! I walked in with a sequin hat, leather jacket, leather pants and high heel patent leather boots.

The hardest part of cosplaying Ingo is remembering NOT to smile ahaha!

Some hairstyle tests

I drew these for a huge submas art collaboration over Twitter hosted by @/mimizukeii!! It was technically my first art collab before I started arranging them myself with Aggie/Magma.

While looking for train related songs I found this cute nursery rhyme to go with the marching:

"Over the mountains,

Over the plains,

Over the rivers,

Here come the trains.

Carrying passengers,

Carrying mail,

Bringing their precious loads In without fail"

I wanted to compare these silly twins, planning to do something more silly with them later. Also a sketch of @/fukurow's butler designs I never finished.. The capes compliment them so well, I love them!!

Prequel to this piece! Emmet is so confident in himself he thinks Pierce wants to learn from him but is invited for a duet on the stage instead!!

Emmet has really great voice actors in Pokemas! I especially love how his english VA gives him that bri'ish/posh/sophisticated vibe while also soft and melodic! I know for SURE this VA/Emmet can sing, I can show you later!

One of my favourite sketches!! I wanted to add a bunch of characters in the BG reacting to this sonic blast of emotion over a performance!

Heyyy it's the smile buddies comic!! I really hope Ingo gets to interact with Marnie in Pokemas one day!!

I feel Ingo's eyes in the mirror panel is a little off in the final comic, I meant to keep it softer like in the sketch!

It's Nimbasa trio!! Idea inspired by submas EX uniform colors. Might continue this later!

Some BG tests for this piece! Compositing is hard but absolutely worth the effort, it can make a huge difference in the appeal of your piece!!

Practise piece drawing over a photo I thought was cool! I want to get more experimental with lighting and perspective!

'How's it hanging bro?' Who hung him up there anyway??

Sketch for this arguing scene! Something REALLY BAD needs to happen for them to end up that tense! Even if I want to present them close to the canon material I still want to put them in really challenging situations to see how far I can push their emotions!

Thank you so much for coming all the way down here!! This set was pretty loaded, I hope you enjoyed scrolling through all this ahah!

Previous posts:

Sketch dump Vol. 1: April-June 2022

Sketch dump Vol. 2: July 2022

Sketch dump Vol. 3: August 2022

Sketch dump Vol. 4: July 2022 Part 2

[gustedesign]

"Bloody Macchiato" is a unique and visually striking original painting that captures the essence of a popular coffee drink. The use of bold, contrasting colors creates a dynamic and eye-catching composition. It is perfect for any home or office, adding a touch of sophistication and originality. 

[deforest]

SHE'S CRAZY WITH THE HEAT — 1946 ft. The International Sweethearts of Rhythm

In 1946, William D. Alexander began the production of a series of one-reel shorts, half-hour featurettes and feature films that would serve a dual purpose. These black cast subjects would be released to theaters that welcomed African American audiences; concurrently, the music segments would be excerpted from the films and released as Soundies. Ultimately, sixteen of Alexander’s musical shorts reached the Panoram screen, spotlighting the bands of Lucky Millinder, Billy Eckstine, Henri Woode and the International Sweethearts of Rhythm. (Alexander actually produced four films with the Sweethearts, three ten-minute short subjects and one feature, although some of the performances turns up in more than one film; only three performances saw release as a Soundie.) The International Sweethearts of Rhythm grew out of a band formed in the 1930s at the Piney Woods Country Life School, an institution – in part an orphanage – for poor African American children. A member of the music department had apparently taken note of the success of Ina Ray Hutton’s Melodears and decided that an all-woman band composed of school members might lead to something special. While they performed locally, the ISR did not begin to hit its stride until it left Piney Woods and became a professional touring outfit in 1941. The band was certainly “international” in nature, and its ranks included African American, Latina, Chinese, Indian, White and Puerto Rican musicians. In 1941, Anna Mae Winburn joined the orchestra as front woman and featured vocalist. During the war years Maurice King joined the band as both arranger and band manager. Born Clarence King in 1911, King played reeds and later became a fine swing arranger. While here we recognize his composition and arrangement for the Sweethearts – he called this tune “She’s Crazy with the Heat ” – King is best known for his longtime association with Barry Gordy and Motown Records for which he served as director of artist development. He worked closely with vocal groups, teaching the singers how to voice and phrase together. “Maurice brought sophistication and class to Motown,” said session musician Johnny Trudell. By 1946, the Sweethearts was recognized as one of the finest African-American bands in jazz. They recorded for Guild and RCA Records, broadcast regularly for the Armed Forces Radio Service, and toured Europe entertaining the GIs. While much of the success was due to Maurice King’s arrangements, the band’s musicians were all strong, and a special nod must go to Viola Burnside, one of the most neglected tenor soloists of the 1940s. I chatted with my friend Roz Cron, a member of the Sweetheart’s reed section, shortly before her passing. When I thanked her for her contribution, she paused and said, “Yeah, we were one of the best, one of the very, very best.” (via Jazz on Film)

[mythologer]

🟦The evolution of ancient #Greek sculpture can be comprehensively analyzed through a series of iconic works that reflect the development of artistic techniques and styles over time. The New York Kouros, dating to circa 600 BC, exemplifies the characteristic rigidity and stylization of early Greek art, as evidenced by its formal stance and minimal anatomical detail. By 540 BC, the Peplos Kore exhibits a progression toward a more naturalistic representation; however, it still adheres to a formally structured appearance. The Kritios Boy, created around 500 BC, signifies a pivotal transformation in the representation of the human form, introducing more realistic body proportions and initiating the suggestion of movement. Subsequent to this, the Diadoumenos, produced around 430 BC, demonstrates an enhanced sophistication in the depiction of muscle tone and posture. The dynamic composition of Hermes and the Infant Dionysus, crafted in 340 BC, further embodies a heightened sense of grace and emotional resonance. Lastly, Laocoön and His Sons, dating to either the 2nd century BC or the 1st century AD, serves as a paramount example of the intense realism and emotive expression characteristic of the #Hellenistic period.

[w0ndrlvst]

if you're riding the high from parkourciv and are interested in more cool minecraft webseries then OH BOY do i have some to show you!

Whitepine!!!

Period piece drama/mystery about a newly appointed maid, Ivory, as she learns to serve a rich family.

It's not at all "minecrafty" which i think makes it super accessible for people who LOVEEE movies but cannot stand the clickbaity vineboomy vibes of other minecraft rps. if you were a dsmp fan you're gonna fuck with this HARDDD.

This is a SLOW BURN but shit gets tense real quick if ur patient.

Beautiful editing and shot composition, some of the best cinematography ever. Gorgeous color grading too!!!

Interesting and incredibly likable main character, I think Ivory's timid demeanor will be relatable to a lot of people.

The writing is really sophisticated and it genuinely feels like ur watching like a regular period drama at some points which again i love because it doesn't feel 'minecrafty.'

If ur familiar with mcyt then ur def gonna recognize like almost all of the cameos lololol

I don't see as much hype for Whitepine outside of certain circles and its painfully underrated!! please please please check it out!!!

Andrewgaming67

HEAVY content warning: this is a series that discusses topics involving suicide and related subjects. tread with caution!!!

If you frequent creepypasta/internet horror spaces then this is def a name you recognize

Horror series where we follow Andrew explore his old Minecraft worlds, discusses his internet friend Chris, and discovers lingering supernatural entities that haunt these old worlds.

I particularly like how Andrew is written, he feels very grounded and his reactions don't feel over-dramatic.

Theres a few scares that are a little bit jumpy, but most of the them are atmospheric, "blink or you'll miss it" kind of vibes. Any sound effects that accompany the jumpscares are (from my knowledge) natural minecraft noises which makes them less cheap imo.

It gets like...genuinely really sentimental? Idk how else to describe it the story just hits a lot of really touching emotional beats and it took me by surprise. theres some genuinely gut wrenching scenes.

Out of all the internet horror that i've seen using minecraft Andrewgaming is hands down my favorite. So so so much fun to follow and get spooked by and lots of stuff literary stuff to analyze if ur a nerd like that (<- me).

If you happen to have any other series u wanna reccomend you are more than welcome to!!!!

[cloudstongue]

Well, you SHOULD hear it more often!!! YOU’RE A GENIUS, BRYCE!!! And about the getting attached thing, sure, but I tend to be a little clingy. I don’t want to be a bother…I think I have been to most people. (uh. ryu. zee. desklamper.) Which I guess isn’t necessarily a bad thing, but it might drive some people away…I also have a tendency of going “full throttle”—

Of course!!! I really like all of your art and writing, it’s very admirable and a source of inspiration for me!! I also like how you flesh out your characters and have parallels to your ideas…For instance, the Zeeverse AU. You’re very passionate about what you do, and that much is obvious. That’s also something admirable about you! The effort that you put into your works…You take them seriously. I don’t know if I ever could. I feel like you have a talent, a gift…And you put it to good use. I really like that.

And, don’t mention it! I’m merely being honest with you.

ive always wanted to call you a genius, but i feared that we werent close enough for you to be okay with. praise like that,,, and also i was scared of getting attached to you,, like what happened with. a lot of people…(cough cough zverse mods cough cough)

but now i think were close enough. so, i shall say, that your writing is excellent, your works are absolutely marvelous. your characters are silly and bring me lots of joy, and your ideas are simply so creative and clever…i dont know how you do it. you must be a genius.

ack.. im far from a genius if anything, but thank you!! i don't hear that very often, so it's appreciated — getting attached is normal.. i do it all the time

im glad that you enjoy the small chunk of content that comes out of my head!! i like to share those whenever i can, and having people who like them makes me happy (＾∇＾)

once again, thank you ( O﹏O ;)

[tab00-t33f]

Joestar’s Favorite Perfume Headcanons

Heres a request from sweet anon about the Joestar’s favorite scents and perfumes! Hope I got this request right! :3

Also I see you guys really liked my latest bruno fic and some woukd like a continuation! I’d be happy to continue my “Dangerous Devotion” fic!!

Jonathan Joestar:

Favorite Smell: Freshly bloomed roses.

Perfume Recommendation: Chloé Eau de Parfum

This feminine fragrance is centered around a fresh and powdery rose scent, with hints of peony and lychee for added delicacy. It’s romantic and graceful—just what Jonathan would adore.

Joseph Joestar:

Favorite Smell: Citrus and warm spices.

Perfume Recommendation: Dior Addict Eau Fraîche

A lively fragrance featuring bright citrus notes like grapefruit and bergamot, paired with a warm base of white musk. It’s playful and confident, perfectly matching Joseph’s taste.

Jotaro Kujo:

Favorite Smell: Oceanic and fresh.

Perfume Recommendation: Dolce & Gabbana Light Blue

This perfume is crisp and refreshing, with notes of Sicilian lemon, apple, and cedarwood. Its aquatic, clean aroma is something Jotaro would quietly appreciate.

Josuke Higashikata:

Favorite Smell: Fruity and playful.

Perfume Recommendation: Escada Cherry in Japan

A bright and juicy perfume featuring cherry blossom, red fruit, and musk. It’s fun, sweet, and full of life—something Josuke would find irresistible.

Giorno Giovanna:

Favorite Smell: Citrus and florals.

Perfume Recommendation: Lancôme Ô de Lancôme

A sophisticated citrus-floral fragrance with notes of lemon, bergamot, and honeysuckle. Its elegant yet vibrant composition perfectly suits Giorno’s refined preferences.

Jolyne Cujoh:

Favorite Smell: Tropical and bold.

Perfume Recommendation: Tom Ford Soleil Blanc

A warm, tropical fragrance with notes of coconut, ylang-ylang, and amber. It’s bold, sultry, and unique, exactly the type of scent Jolyne would find magnetic.

Johnny Joestar:

Favorite Smell: Earthy and grounded.

Perfume Recommendation: Jo Malone Wood Sage & Sea Salt Cologne

This fragrance combines earthy sage, sea salt, and a touch of musk, creating a scent that’s fresh yet grounded. Johnny would love how natural and comforting it feels.

Josuke Higashikata (Gappy):

Favorite Smell: Fresh and green.

Perfume Recommendation: Elizabeth Arden Green Tea

A light and refreshing perfume with notes of green tea, mint, and citrus. Its crisp, natural scent is soothing and aligns with Gappy’s taste for clean, uncomplicated aromas.

Jodio Joestar:

Favorite Smell: Sweet and modern.

Perfume Recommendation: Yves Saint Laurent Mon Paris

A modern, sweet fragrance featuring notes of strawberry, raspberry, and pear, balanced by a base of patchouli and musk. It’s youthful yet sophisticated—perfect for catching Jodio’s attention.

[invenusworld]

shatabhisha

shatabhisha natives are highly prominent in their arenas and often unconsciously set the 'rules,' standards & framework for their respective fields

johann sebastian bach, shatabhisha moon, is arguably the most prominent composer of the baroque era of classical musical, his name and works often overshadowing those of his contemporaries'

shatabhisha is deeply entwined with the notion of boundaries — a symbol of shatabhisha is an enclosed circle and the planetary ruler of shatabhisha is rahu, who is associated with labelling, defining (thereby limiting) and categorization. the innovation, genius & creativity of shatabhisha is often sparked by self-imposed limitations and rigid guidelines. this is perfectly encapsulated by john m. reese in his essay 'Concepts of the Composition Style of J.S. Bach'

"Bach is legendary for his mastery of counterpoint, particularly in late works such as the Musical Offering and the Art of the Fugue. When I try to explain to musical novices the challenge Bach faced in writing some of these works, I use the analogy of writing an essay of 500 words or more, where the entire essay forms a palindrome (reading the same from front to back), where you are not allowed to use the letter "e", where all the syntax is correct, and where, finally, the end result makes perfect sense.

Bach performed similar feats in writing fugues that were invertable in their entirety (e.g., could be played upside-down), canons woven around an existing melody in which the answering voice is augmented and transposed to a different key, and canons on an existing melody in which the answer is inverted, and which was also playable with the entire canon inverted. It boggles the mind that such sophisticated thought, rivaling that required of computer scientists, was being done in the early eighteenth century"

(shatabhisha relating to technology and all forms of technological advancements)

ultimately, this is a fascinating nakshatra with seemingly infinite creative potential and the ability to find inspiration in the most mundane. with a highly observant disposition and a keen eye, these natives see the world through a lens of synchronicities and patterns. shatabhisha is of the infinite, vast, all-pervading ether element & these natives' works and influence penetrate and permeate through the ages ϟ

[gimmick-blog-reviewer]

Gimmick Blog: @nuderater

Gimmick: Rating nudes Gimmick rating: 5/10, could be done well, but is executed poorly. Blog rating: -1/10, I hate you.

Overall rating: 2/10, you disgust me. I think the idea of a nude rating blog could be done well, great even. But I think you are the worst possible execution of the concept that could theoretically maintain an air of objectivity. That said, I don't think you maintain that air. Your lack of feedback on how one could improve their nudes, coupled with your seemingly arbitrary rating provides nothing to the people you are rating and only judges them. You are less than useless, and likely actively harmful. Never once have you rating someone 9 or above, nothing is perfect or even approaching so for you. When you rate someone's nude an 8.4, I imagine them wondering (if they see or care about you at all) what they could have done to get a higher rating. But you don't provide feedback, you don't care, you judge and move on. Only four times have you judged someone's nude under a 5/10, with seemingly no pattern in what you find distasteful. It feels less like there is something you don't like in a nude and more like you want to rate someone low. Finally, you don't take any level of context into consideration. This was the factor that first led to my hate of you. You rated a nude by @virtualgirlafterdark a 5/10, and it responded with "yeah that's fair." You didn't take into account that it's a trans woman, that it might be new to taking nudes, or that its body is still developing thanks to HRT. You gave it a flat 5/10 with no feedback. How do you think it felt after that? Additionally I want to talk about the lowest rating you have ever given. In this post on Oct 27th, you rated (I assume) a woman a solid 2/10 for what is realistically a fairly mediocre nude. But disregarding the nude itself, it's coupled with the caption "ugly and pretty at the same time :)". How do you think a woman who just called herself ugly would feel being described as a 2/10? You thoroughly disgust me and I firmly believe this website would be better without you on it.

There's a defense to be made that the nude rater is rating the quality of the pictures themselves, the composition, the lighting. But objectively well taken images such as this are routinely rated lower than objectively poorly taken images such as this. Additionally, images that feature non "conventionally attractive" aspects in them are often rated significantly lower. Sagging breasts, armpit hair, veiny breasts, are all subjected to lower ratings. It should also be noted that nuderater exclusively rates the nudes of people with more femininely presenting bodies. No amount of calling one's taste in the human body "sophisticated" will seperate you from the fact that you have the opinions of the average pornhub watcher.

All in all I find Nuderater to be a repugnant misogynist who brings nothing to the platform and leaves only hurt feelings.

[alexandr-az]

Create a captivating masterpiece in the style of realism that reveals the timeless charm of a brunette woman with big eyes, long fluffy eyelashes with a beautiful body in silk clothes against the background of a serene forest. Against the background of an untouched blue canvas, the composition intentionally highlights the main elements, focusing on the graceful contours of the female figure. In this visually mesmerizing work of art, the silhouette of a brunette woman appears as a symbol of modern realism, embodying the essence of simplicity and refined beauty. The soft tones of the sunset delicately envelop her figure, creating a smooth fusion of gentle warmth of shades and precise lines that define her silhouette. The ideal of realism extends to the purposeful absence of complex details, allowing the viewer's imagination to create its own narrative. The emphasis on clean lines serves to enhance the sophistication of the composition, immersing the observer in a visual language that radiates elegance and restraint at the same time. Participating in a subtle dance between positive and negative space, the work of art strategically uses the latter to elevate the overall composition. The strategic use of empty space gives a feeling of lightness, encouraging viewers to appreciate not only the silhouette of a woman, but also the harmonious balance between form and emptiness. This work beckons to contemplation, unfolding as a serene visual narrative in which simplicity, elegance and modern aesthetics are organically combined. The flowing fabric of the clothes emphasizes the silhouette of the ideal figure of the female body. Thanks to the careful play of negative space and a restrained color palette, the artist attracts the viewer's attention, inviting him into a calm exploration where beauty resonates in the subtleties of realistic expression

[pmamtraveller]

THE QUEST FOR REALITY; ADOLPH VON MENZEL

Adolph von Menzel (1815-1905) was a German painter and printmaker who portrayed life in 19th-century Prussia, historical events, and everyday scenes. He was largely self-taught, and his skills developed practically through lithography and drawing experience.

The Iron Rolling Mill, 1875

This painting captures the intense labour of steelworkers in a Prussian industrial mill. There is a detailed expression, both of the machinery and the workers, illustrating the social condition of working-class people during the Industrial Revolution and Menzel's turn from historical themes to contemporary issues.

The Dinner at the Ball, 1878

It is a portrayal of an elegant high-society scene, coupled with detailed portrayals of fashionable guests and luxurious surroundings, all of which bring out the Biedermeier style. It captures the 19th-century social life, proving Menzel's skill to render social dynamics and intimate moments.

Frederick the Great Playing the Flute at Sanssouci, 1852

It portrays the tranquil scene of Frederick II music-making in his palace. The painting showcases Frederick's dual character as a ruler and as a musician, evincing cultural sophistication and the opulence of his court. The composition is the epitome of Menzel's great admiration for Frederick and his commitment to a history of Prussia done with emotional depth and realism.

Studio Wall, 1872

Menzel painted a nighttime view of his studio wall, with illuminated plaster casts, including death masks and classical figures. This work highlights Menzel's thoughts at the time; he had been ruminating over life and death and artistic posterity. It was a touching memorial to his friend Friedrich Eggers as well as a strong demonstration of his mastery of dramatic lighting.

The Visit From Death, 1844

Death is depicted as a humble professional who is neither wrathful nor unkind. Just simply doing its job and has no ill will for those it visits upon. It even has a sense of respect, taking its clogs off before entering the home. Menzel followed up in 1845 with a hilarious painting that suggests that the arrival of Death isn’t so final after all!

The Balcony Room (1845)

Inspired by his journeys to Paris, Menzel depicts a sparsely furnished apartment full of sunlight. This painting foreshadows impressionist techniques since it's totally oriented with light and atmosphere, marking an important turn in Menzel's career away from historical themes and toward contemporary genre scenes.

[flareovium]

A symphony of us.

Mortefi x Musician! GN Reader I am utterly SICK I think this might be my best work yet.

Listening to music is a hobby that many were surprised Mortefi had.

Specifically, classical music.

It seemed like such a simple, yet sophisticated hobby; But to Mortefi, music is far more complex than meets the eye.

Like a mathematical equation, Mortefi enjoys finding little secrets that a composer would leave within those melodic notes. Music has to be precise to sound beautiful, after all. It blows his mind how certain composers can create a piece that sounds ethereal when played both normally or backwards.

He is a man who finds the little details and appreciate them.

It's came to no one's surprise that his lover, [name], is a classical musician themself.

[name] enjoyed showing Mortefi their latest pieces, often hiding secrets in their compositions for him to find. They loved nothing more than that happy glint in Mortefi's eyes when he noticed, happily pointing it out and showering them with praise for it.

While he wasn't a musician himself, sometimes [name] finds themself asking Mortefi for input on their works-in-progress, to which Mortefi gladly assists them by giving them ideas or reviewing what's available of the musical masterpiece.

Mortefi and [name] seemed like an odd pair to become lovers, but like quirky notes in a symphony; Their dynamic was harmonious like a beautiful melody.

[responsivethoughts]

The Grumman X-29 Experimental Aircraft

The Grumman X-29 was an experimental aircraft developed by the United States in the 1980s, aimed at testing advanced aviation technologies. One of its most unique features was its forward-swept wings, which improved maneuverability and reduced drag. However, this design introduced significant aerodynamic challenges, such as the tendency of the wings to twist under stress. To address this, the X-29 utilized advanced composite materials, which provided the necessary strength without adding excess weight.

The X-29 was inherently unstable due to its forward-swept wings, necessitating a sophisticated digital fly-by-wire control system. This system allowed a computer to continuously make adjustments to keep the aircraft stable during flight. Additionally, the aircraft featured canard control surfaces, located in front of the main wings, which enhanced control and maneuverability, particularly at high angles of attack.

Another key feature of the X-29 was its variable-geometry engine inlets, designed to optimize airflow into the engine across different flight conditions. This design allowed the aircraft to maintain efficiency at various speeds and altitudes. Together, these innovative design elements made the X-29 a complex and advanced aircraft for its time.

The X-29 first flew on December 14, 1984, under the management of NASA and the United States Air Force. Two X-29 aircraft were constructed, and they accumulated over 400 test flights. These tests focused on exploring the aircraft's unique aerodynamic and flight control characteristics, providing valuable data on how forward-swept wings performed under various conditions.

The primary objective of the X-29 program was to investigate technologies that could be used in future fighter aircraft, with a particular focus on improving maneuverability and control at high angles of attack. Although the X-29 was never intended to enter production, the insights gained from its development contributed to future advancements in aircraft design.

While the X-29 did not see operational service, its legacy is significant. The technologies it explored, including forward-swept wings, composite materials, and digital flight controls, paved the way for innovations in fighter aircraft. Today, the X-29 is remembered as an important milestone in the study of unconventional aircraft designs and aerodynamics.

An interesting and lesser-known fact about the Grumman X-29 is that, despite its radical design, the aircraft reused components from existing fighter jets to save on development costs. Specifically, the fuselage of the X-29 was derived from the Northrop F-5A Freedom Fighter, and its landing gear was taken from the General Dynamics F-16 Fighting Falcon. This blending of cutting-edge technology with proven components from earlier aircraft helped keep the project within a more manageable budget, demonstrating a creative approach to experimental aircraft design during that era.

[blacknedsoul-blog]

Nevermore is a gothic tragedy. Part I: Classical and Shakespearean Tragedy

This essay assumes that you've read the first season of Nevermore. If you haven't, you'll be eating spoilers.

First of all, a disclaimer: you won't find the term "Gothic tragedy" in theory books, because I just pulled it out of my sleeve. But it seemed appropriate to put it in those terms because, hey, beyond theoretical structuring, genres are also used as a guide to content, and that's kind of what I want to express with this.

Partly because I've noticed that I've called this comic a tragedy on more than one occasion, and talked at length about Lenore and Annabel as gothic characters, but never bothered to delve into these matters, and with the hiatus until (possibly) October, I think it's time to rectify that situation.

But also because I think there are a lot of things in this story that fall into place if you read it under the logic of those genres.

Originally, this was going to be a single essay, but it turns out it took over 2000 fucking words just to explain why it's a fucking tragedy, so I'm going to split this shit in two because I don't want to burn anyone's eyes out.

Tragedy and Types of Tragedy

This is the ridiculously abridged version because this is a really long story, if you want more information on the subject I highly recommend reading Aristotle's Poetics, Nietzsche's The Birth of Tragedy or watching this OSP video for a more proper introduction. If you're interested in Shakespearean tragedy, The Cambridge Shakespeare is a amazing compilation, and here's the essay that talks specifically about what the hell Shakespearean tragedy is.

Tragedy has been linked to the origins of theater as such, found in the festivals dedicated to Dionysus (if you want to know more about the cult of Dionysus, you can watch this video to start), where poetry contests were held, specifically of dithyrambs: lyric compositions dedicated specifically to Dionysus. This later led to the inclusion of an increasingly sophisticated chorus using masks. This was no longer poetry, but the first expressions of theater as we understand it in modern times, at least for Europe and the countries colonized by Europeans.

Nietzsche also points out that tragedy condenses within itself two opposing impulses represented in the gods Apollo and Dionysus, expressed in the terms "Apollonian" and "Dionysian": order, mathematics and music (understood by the Greeks as science) vs. party, debauchery and chaos. The clash between the beautiful and the grotesque (understanding that the "beautiful" can be disturbing and the "grotesque" can be strangely beautiful). This description is not entirely literal, of course, but it must be kept in mind that in order to have the fundamentals of a tragedy, one must have these two elements: order and chaos. A synchronized waltz between the rigid structures and the rupturing.

Yes, those two are enough.

Step by step, I think it is important to point out what are the transversal elements to tragedy - classical or Shakespearean - that are present in the comic.

The first important concept that appears on this page is Amarthia. The tragic mistake, the first domino that topples the whole stack, is the specific event that sets tragedy in motion, and we spectators of tragedy can only stare in horror at the situation, knowing that everything that follows will go terribly wrong.

At least as far as its protagonists are concerned, Annabel and Lenore's Amarthia has been said but not seen: the dinner party where Annabel will wear pearls, indicating to Lenore that she is in on the charade. From then on, every step they take will bring them closer to the fate we know: the arrival of both of them in Nevermore. This story ends with them both dead.

And if I had to point out the Amarthia of the comic's topicality, I would dare to say that this is it:

And this:

Annabel refuses to explain to Lenore why the plan has to be the way it is, while Lenore agrees to be part of it (the fact that she disagrees with the whole situation is a plus).

The interesting thing about this is that the roles are reversed: before, Annabel sealed the tragic fate of both of them by accepting Lenore's proposal, while in Nevermore, Lenore sealed the tragic fate of both of them by accepting Annabel's plan.

Another important term that comes up here is hybris. While it is true that hybris represents ego, this does not necessarily mean that the hero is self-centered in a personality sense; hybris is the tragic hero's (misguided, of course) belief that they can turn their terrible situation around. And, well…

That ends badly in tragedies. Very, very badly.

At this point, it is necessary to start pointing out the elements of each type of tragedy, because something interesting is happening: within the ancient walls of the purgatory that is Nevermore, a classical tragedy is taking place, while in the past, Annabel and Lenore were the protagonists of a Shakespearean tragedy.

Classical Tragedy

One thing to understand about classical tragedy is that these are stories of humanity versus divinity. The predestined fate that comes upon mortals at the hands of beings superior to them, even if those beings do not appear directly. The external forces superior to the characters do not intervene directly (at least not in most cases), but they put all the pieces in place for the tragic hero to fall headlong into his terrible fate "by their own hand". Yeah, that shit is so unfair.

In Nevermore, fate is represented by these two bastards: The Deans act as the ominous shadow of divinity that sets the rules of this battle royale. For all intents and purposes, this pair of bastards represents the tragic fate of the characters: only one will survive to have a second life. And there is (theoretically) no way to escape.

This is where we start to get into thorny issues. If I had to point out the classical tragedy that Nevermore most resembles, I think I'd get a smile out of Hadestown fans: Orpheo and Eurydice.

Okay, let's review: Orpheo is a highly talented musician who, after losing his beloved, goes to the underworld to find her. Hades and Persephone give him a chance to get her back if he doesn't turn around to see her until they leave the place, he does so at the last second, she returns to the underworld, and Orpheus spends the rest of his life in misery mourning her.

That's the thing, the story of Orpheo and Euridice is a tragedy for the most depressing reason of all: love. What seems like a generous gift from Hades and Persephone is actually a condemnation, because they ask Orpheus to do the one thing he could never do: stop looking at his beloved. In some versions of the story, he can't even hear her as they walk; will she really be her, or has he been tricked? Will she be frightened on this journey and he will not be there to comfort her? What if she has trouble on the road or an accident and Orpheus has left her behind? Orpheus loves Eurydice so much that he cannot save her under these circumstances because he cannot stop watching over her long enough to get her out of here.

Now let's go to Annabel and Lenore, the same thing is happening here, these two idiots love each other. It's probably the only thing they know for sure in this bullshit game. And for Annabel and Lenore, to love is to protect, it's to be the shield that will be there to defend their beloved in the face of adversity, she's been hurt in a terrible way and they will do anything to stop anyone from hurting her again.

But tragic fate, represented by the Deans, has set things in motion for this to quickly go to hell:

For Lenore to understand Annabel's actions, she would have to tell her that's why she's so afraid, why they shouldn't get attached to anyone, why she thinks it's necessary to pretend they don't remember each other. But Lenore can't be okay with Annabel carrying everything alone, because she sees how it hurts her, because Annabel is clearly hurting. She goes to great lengths to confide in Annabel, but she can't come up with a plausible explanation for all this crap either.

For Annabel, becoming a villain and enduring all this pain is slightly less horrible than dragging Lenore into the Deans' psychotic game. But Lenore just loves her too much to let her do that. Lenore could protect her if Annabel were by her side, so why does she keep leaving? She was hurt the first time, why do it to her a second time?

The feeling of not being heard, the frustration that the other just won't listen to her pleas and won't stop what she's doing to allow her to be cared for, runs through both of them because it's the exact same situation, "Why won't you let me do this for you?"

The answer is that Annabel and Lenore are asking the other to do the one thing she could never stop doing: stop trying to protect her. That's why they fight.

This relationship has become a power game that neither can win because they are both exactly the same. A tug-of-war that will only be resolved when something breaks. Hopefully not irreparably.

And speaking of the P-word, let's talk Shakespeare, people.

Shakespearean Tragedy

The good Bard took classical tragedy and brought it back, but changed enough elements of it that it had to be renamed because some of its fundamentals were rewritten. The most notorious of these is that while Shakespeare does not ignore the presence of higher forces or supernatural entities, the fundamental basis of Shakespearean tragedy is not the conflict between humanity and the Fates/Gods.

It is power.

Those who wield power, those who are corrupted by it, and those who crave it. These tragedies speak of moral corruption, the victims of power, and those who sink under the responsibility that power brings.

This is the reason why Shakespeare's tragic heroes belong to the nobility, come from opulent families, or hold important positions. In this case, we have as protagonists two women who were born in a cradle of gold: Lenore apparently comes from a family of old money, and while we do not know if Annabel also comes from a family of old money, we do know that there is no shortage of coins around here.

But status cannot protect Shakespeare's protagonists from the society in which they live, whose agency is sometimes literally represented by people with power. This puts them in a situation from which they cannot escape and which screws them from the start (in other cases the Shakespearean protagonist is the figure of power and seals his own fate). Here, the odds are stacked against them from the start because they are women and, as if that were not enough, lesbians.

I think it's no surprise to anyone that the Shakespearean tragedy most similar to Nevermore is Romeo and Juliet.

Let's review: Romeo and Juliet are two young people who meet at a party and fall madly in love. Their families hate each other, so they cannot be together. The two secretly marry, but after an argument Romeo kills a man and is banished, despite a plan hatched by a priest friend so they can run away together, things go terribly wrong and they both end up committing suicide.

This follows a similar logic to Orpheus and Eurydice: the tragedy here is that these two are in love. But where classical tragedy says, "They love each other so much they can't save themselves," Romeo and Juliet, like Annabel and Lenore, works with two layers of conflict.

The first is the social and political. These young people's families hate each other, so they can't be together. In the same way, Annabel and Lenore can't be together because they're both women.

This is also a reference to one of the central themes of Romeo and Juliet: the clash between tradition and modernity. I think if you squint hard enough, you can see the relationship between these two as Victorian conservatism and homophobia screwing up their lives in the same way that tradition screws up Romeo and Juliet's.

The other layer of the problem is the one that has to do with love: Romeo and Juliet love each other so much that they cannot live without each other. This is what drives them both to suicide, even when they are given the opportunity to continue their lives separately. They love each other so much that they cannot live without each other. Just as Annabel and Lenore desperately want to be together, this is what starts the engine of tragedy when circumstances prevent them from doing so.

Another thing it takes from Romeo and Juliet is the role of the parents as a representation of the power that oppresses the characters. In Romeo and Juliet, the Montague and Capulet lords pull the strings of their children's lives, and it is their resentment that creates the barrier between the lovers. In the case of Nevermore, Ira and Thaddeus are the personal jailers of their respective daughters: Ira wants to get Annabel into an arranged marriage by hook or by crook, and Thaddeus first gets Lenore a fiancé and then keeps her locked up in the fucking attic.

Finally, a tragedy that can be read as a reference to Nevermore, though more subtly, is Macbeth.

The plot is simple: a trio of witches tell Duke Macbeth that he and his descendants will one day be kings. This leads him to murder his cousin, King Duncan, and everything goes downhill from there, because Duncan's murder didn't even amuse the prince.

Yes, at first glance it doesn't seem to make much sense, but that's because it's referring to a specific moment. Specifically, the most discussed and controversial scene in the play: the dialog where Lady Macbeth and Macbeth discuss killing Duncan.

This scene has kept the Bard's fans arguing for centuries: is she manipulating her husband so that she can be queen, or is she just verbalizing Macbeth's wishes that he be allowed to commit the crime, and saying that she will support him in it? Impossible to know unless someone gets a working Ouija board.

This is the same logic that follows the flashback scene where Lenore talks to Annabel about the plan. The important thing here is that the comic decides that the answer is: it depends on who you ask.

Given Annabel's attitude toward Lenore, we can interpret that she does not think she was manipulated or anything. Lenore is not a devious woman who put things in her head, it was her knight in shining armor who came to save her from a marriage she didn't want. Yes, she may have had her doubts, but she definitely liked her chances, enough to accept them.

On the other hand, what this tells me is that Lenore thinks the opposite: that she convinced Annabel to be part of this hoax that ended with both of them dead. A crazy woman who dragged the only person she cared about into a dangerous game that cost them their lives, she considers herself as guilty as the perpetrating hand of the crime.

Conclusion

I think the first time I decided to do a review under this particular lens was when I started to notice where Annabel and Lenore's arcs seemed to be going.

On the one hand, given how things are going, it seems that Lenore has to start taking off the blindfold to realize that things aren't as simple as she thinks, and stop letting others make the hard decisions for her because it hurts everyone.

On Annabel's side, you have a character arc that seems to be aimed at being honest with other people, not letting her fears stop her from making risky decisions, and not dealing with all the bullshit herself.

If what I just said leaves a bad taste in your mouth, that's normal. Because it's fucking unfair.

That Lenore should be the one to stand firm - not out of guilt, but out of responsibility - for her actions feels like shit after everything the poor girl has been through. The same thing happens on Annabel's side, that she has to give in to a situation where it makes so much sense for her to shut down, where it makes sense, even without her background, for her to behave that way.

But that sense of injustice is one of the foundations of tragedies. The feeling that, in her situation, it is practically impossible to think that anything different could be done is the basis of catharsis: the pity felt for the character, the fear generated by identifying with their terrible situation.

The expiation of these emotions, which are produced in the spectator by the fall of the tragic hero.

Now, it is interesting to ask how the fall of Annabel and Lenore will be. The simple answer from a tragic point of view is death, a thing we know has already happened once, why not a second time? After all, that's what awaits tragic heroes. Unless you're Medea.

It's impossible to know how the comic will develop, but it seems to me that this is as far as the tragedy goes. For the next part, I want to talk about gothic novels, female vampires, the female writers of the period, and the last gothic. Believe me, buddies, there is no more obsessive romantic bond than that between a Poe protagonist and their dead bride.