Kim Ok-Bin - The Villainess (2017)

LADY SNOWBLOOD (1973) dir. TOSHIYA FUJITA

Lady of the Flowers (1895) by Odilon Redon

“Prisons, which are considered as preventive of anti-social deeds, are exactly the institutions for breeding them… Absence of education, dislike of regular work, physical incapability of sustained effort, misdirected love of adventure, gambling propensities, absence of energy, an untrained will, and carelessness about the happiness of others… it is exactly these defects of human nature — each one of them — which the prison breeds in its inmates; and it is bound to breed them because it is a prison, and will breed them so long as it exists.”

— Peter Kropotkin, Memoirs of a Revolutionist

Now is a good time to tell you what I know about death: Nothing goes away but becomes something else. The story goes: God watched the son go down. Or, God was the son going down. Or God was gravity. Or God spoke in the voice of the people so to bring that man down--he went and became a lamb cut open. He went and became August sun. He went and became. He went and became. My brother sat up. A holy future passed us by and surrounds me now. Brother, we're going down. Brother, get up.

Lily Greenberg, from "Good Friday"

“There had once been a girl more important than Lyanna Stark”

King Robert reunited with his oldest child, Mya Stone

sketched by: euronswife on twt

Colored in hair version and regular sketch because I wasn’t sure if people would be able to tell it was Mya. I know she has short hair in the series, but this is set a little bit before AGOT since Jon Arryn is still alive (so she could have cut it since), and my biggest interest in ASOIAF is historical influences so I tried to find a way that her hair is sort of short but still influenced by Tudor(ish) fashion in Europe. Her hair is to her shoulders, but because she’s hunching her shoulders in discomfort, her hair looks longer than it is.

The idea for this piece is that Jon Arryn has found out suspicious things about the legitimate Baratheon children that is leading him to believe they are not Robert’s biological children. He still wants to be subtle and not outright tell Robert until he has irrefutable proof, because someone is sure to feel Robert’s wrath and he doesn’t want it to be him. Bringing Edric to King’s Landing means letting Renly know about this (and Renly can’t keep his mouth shut) so he summons a known bastard of the King from his own realm, Mya Stone, to illustrate the differences between children of Baratheon blood and the children of Cersei Lannister. He dresses her in a stuffy yellow dress that she’s not used to, and puts jewels in her hair like Cersei likes to do with the other handmaidens. Mya is worried that the King won’t recognize her after so many years, she was a toddler the last time she’d seen him, after all. But as soon as she enters his chambers and he sets his eyes on her, he sends away his whores. He clasps Mya tightly at the tops of her arms. He seems as if he might cry, and Mya doesn’t know how to feel. She’s hurt from all the missed time, but she wants the King’s approval as well. And the fact he’s so emotional is a sort of emotional release of all the feelings that have been weighing heavy on her heart all her life. She still doesn’t know why he would have left her, why he stopped loving her, what she had done.

Mya and Robert one of my favorite tragic father and daughter, I can’t help it.

Frankly I’m tired of Targaryen war criminals!!!!! Give me a substantially above average sized man with below average social skills and his emotional support bald kid with an attitude problem STAT

What Myrcella Baratheon would wear

(Ziad Nakad, Fall 2019)

October 29th

I’m sure it’s because not many people know but kon actually has a lot of different sources for angst potential! He’s engineered to be a copy of earths greatest hero yet constantly struggling to find out who he is outside of a given purpose. He galavants around with the idea that he’s independent enough to be his own boss, but from the moment of his creation he’s been told who to be or exploited by the people he meets. He’s both treated like an adult yet punished for acting like a kid. He makes mistakes and often feels like a screw up but he gets up and tries again every time! He’s acts like the S symbol is both something he already deserves (because that’s what he was made for) yet acts as if he constantly has to prove he’s worthy. He didn’t have a name for the first years of his publication history, and for a long time he didn’t know how to be anything other than Superboy (and maybe he’s still figuring that out). He cried tears of joy when Superman finally gave him his very own Kryptonian name and verbally accepted him into the family, a testament to how important that journey of identity and belonging is to him. At the same time, why did it have to take so long?

His life is constantly being uprooted, and he can never settle in one place long enough to call it home. He deserves agency and stability, yet his life is often slipping out of his own control. He yearns for a mother or father, and maybe if he had one, he wouldn’t feel so lost. For a while, he thought he would never grow up and be who he needs to be, which is ironic given how many people are quick to call him immature. He cares so much for his friends and family, and he is pained when people leave and feels immensely guilty when he hurts the people he cares about. Regardless of what he may think, those people are happy to remind him that they think of him as family too and they’ll travel across time and space and to the ends of the earth for him.

Despite being created in a lab to be a copy of someone else, ironically he is brimming with a unique personality that is sometimes sought to be stifled. But he’s tied so much worth into who he’s supposed to be that shaking that foundation shakes his very core and is a source of insecurity. He acts so differently from Clark, yet so similarly as well. He wants to be Superman, but both emulates him and fights to be Different from him. He believes in seeing the good in people, even if it lands him into trouble, and though he may doubt it or question it he really is a hero at heart. He’s like Clark where it matters, but everything else—his personality and style, his connections to his friends and family, his struggles and triumphs—all of that is completely his own.

He may not have figured out everything it meant to be human, but he’s loved enough to die for it. To die would indeed be an awfully great adventure, but like J.M. Barrie said, “To live would be an awfully big adventure.” And Kon has certainly experienced it all, good and bad.

<3

LADY SNOWBLOOD (1973) dir. TOSHIYA FUJITA