Unofficial art/writing blog for particolored-socks. Updates once in a blue moon.
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Latest Posts by particolored-arts - Page 2
god i just lose my mind over sansa sometimes. she was just 11 — isolated in a strange place, neglected by her father and her septa, her precious direwolf unfairly executed, given confusing signals about who she is to marry, then after a failed coup her father lead, despite pleading for his life on her knees in front of the entire court, was witness to his beheading. most 11 year olds are brats under the best of circumstances, let alone under those circumstances. but sansa rises above. she’s a kind little girl that survives constant terror and abuse through her cleverness, perceptiveness, and deep reserve of inner strength and compassion. though she may use another name, she knows deep down know she is, using that name – STARK – like a lodestone in her heart. where no one can see. for a lady’s armor is her courtesy
idk i love the way grmm has flipped the princess under captivity trope. sansa is not a passive subject, she spends her time in kings’ landing calculating risks (who is safe to trust, who is one of cersei’s/varys’/littlefinger’s spies), and creating alibis (constant prayers in the godswood). she muses that love is the best way to a people’s loyalty, and this thought persists despite the ‘wisdom’ of her teachers. when she becomes the lady of winterfell, it’s straight to work preparing for the winter – she’s learned from her unscrupulous mentors about the logistics, but the heart of that is that these are the smallfolk of the north, and they must be fed, they must be clothed, they must be armed for the coming struggle and she will see to it herself. though she has become wary and shrewd, constantly gaging men’s intentions, she has lost none of what made her such a precious character* – her heart. her kindness is now tempered by all that she’s suffered, she wears it like a cloak – not the pain, but the victory. i’ve come this far, she must think. and i have far to go.
*for people like me. i’m a big mushball crybaby and spend 90% of my time on this earth reading, i love to play music, and honestly if i lived in some quasi medieval world i would be all over those awesome dresses. not gonna lie)
“jenny of oldstones” of game of thrones and “edge of night” of lord of the rings are as yet incomparable because we haven’t seen the final episode of GoT yet. we haven’t even seen the big battle at winterfell which is going to be comparable (narrative-wise at least) to the battle of gondor against the nazgul. (i could go into comparisons with the white walkers vs the nazgul, the night king vs sauron, but as i haven’t actually read asoiaf and honestly don’t intend to i don’t think i’m qualified on that account.) but in any case, “edge of night” has lyrics which are juxtaposed between denethor eating and clearly uncaring of his son’s plight and the riders galloping valiantly to their fates, while “jenny of oldstones” is essentially a montage of all the faces of the people who are going to either die or lose their loved ones, peacefully or at least calmly contemplating their coming fates. and this is a contrast that we can look at in and of itself but until we have the entire completed oeuvre that is game of thrones, we can’t say for certain that “and she never wanted to leave” (in the context of jenny dancing with her ghosts) will have the same effect on GoT’s serial narrative as “all shall fade” (in the context of shadow and clouds fading) has on LOTR as a trilogy, and until we see who lives and who dies and what the ultimate outcome of the series is, we cannot properly compare these two sequences. in this essay i will
The Prince of Egyt | Deliver Us
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C’est toujours étrange de se dire qu’on est des milliers à pleurer en même temps.
Cet incendie est à la fois un drame et en même temps… On reconstruira, on rebâtira. Il n’y a pas de morts. On a pu sortir le trésor. Ces pensées se chamboulent dans ma tête pour rationaliser. C’est toujours étrange de voir l’immuable disparaître.
C’est aussi un peu étrange pour notre période qui aime patrimonialiser mais rappelons nous que nos vieux bâtiments sont pour la plupart du temps des agrégats de différentes périodes. Notre Dame n’échappe pas à la règle: la construction s’est étalée sur deux cent ans environ, la charpente est d’origine mais les gargouilles ne le sont pas, elle a subi des restaurations… Un bâtiment est le résultat de tous les bâtiments composant son histoire. Pourtant c’est ce résultat de cathédrale, notre contemporain et avec lequel nous avons vécu qui est en train de voler dans les flammes et avec lui, peut-être, un certain rapport au temps. D’un point de vue historique, c’est peut-être triste. Ou peut-être que ce n’est qu’une nouvelle pierre à l’histoire de l’édifice, une pierre pour le moment non encore advenue, et c’est cela qui fait si mal.
Il ne faudrait pas non plus réduire la cathédrale a des vieilles pierres. Elle est un symbole qui charrie plus qu’elle même dans nos mémoires. Quand on dit Notre Dame, on pense Victor Hugo, comédie musicale, film. On pense aux maçons, architectes, tailleurs de pierre, au Moyen-Âge, à ses cours d’histoire, à des gros clichés. On pense à l’art. On pense à Paris. On pense à ce qu’on a ressenti en y mettant les pieds, croyant ou non, chrétien ou pas. Cela part aussi un peu avec les flammes. J’en oublie surement. Chacun doit avoir son ressenti (ou pas, aussi).
Je ne sais pas comment vous vous positionnez face à l’incendie, si vous pleurez la perte ou pensez au lendemain, si vous faites des blagues à coup de Sacré Cœur pour garder le sourire, ou si vous n’êtes pas touchés. En tout cas, je souhaite le mieux pour vous.
Fluctuat net mergitur, parait-il.
cain saying “am i my brother’s keeper” right after he killed him is so funny. it’s GOD. he SAW THAT
this isn’t necessarily new information (and is kind of inspired by various dash conversations I’ve seen), but there’s a difference between characters holding the Idiot Ball as a plot hole/authors awkwardly trying to maneuver their characters or plot towards a conclusion without making it make sense in-universe, and characters holding the Idiot Ball in ways that are actually congruent with their established character flaws or shortcomings, and actually make their character arcs more interesting as a result
Won’t someone think of the children
Emma: Okay so like. The most fridge horror thing about the triwizard tournament is that they’re like “we added an age restriction!”
Emma: Not “we raised it!” Just “we added one!”
Emma: Which implies that previously, 11 YEAR OLDS COULD ENTER
Emma: Like I doubt they were ever chosen bc someone whose magical repotoir consists solely of “swish and flick” is not the best candidate for their school but what the FUCK
Meghan: AU where the Tournament happens 1st year, the other Champions are the same (17) and throw the whole competition making sure Harry doesn’t fucking die. They even let him take the Cup bc he’s so tiny and adorably earnest…
Meghan: Obviously that backfires, but Cedric isn’t dead at least.
Emma: THANKS I HATE IT
me: alright i’m not so much concentrating on les mis anymore my new focus is the three musketeers! new interest! we’re broadening our scope! that’s diversification baby!
also me: If I See One More Alternate Universe Where Everyone Lives Except Fantine, Whose Death Apparently Is A Fixed Part Of The Timeline, I’m Gonna McFreakin’ Lose It
There was an angry mob in my notes demanding an enemies to lovers design
see the others x x x
i say this every year but tumblr didn’t start doing april fools’ gimmicks until 2014. one year previous, April 1st, 2013, was a certain Incident that i am CONVINCED caused @staff to think “we have to make an april fools’ theme ourselves, because if left to their own devices, they’ll do… That”
the most unrealistic thing about harry potter
is that no teacher ever called him James by accident, or that Ron never was called “Bill-, eh Charl-, no Per-, argh!”
Do not blame me for who I am. The doctor prescribed me 20 mL of #valvertine twice a day.
local longsword lug reporting for duty
➥ kiefer sutherland as athos vs. michael wincott as rochefort - the three musketeers (1993) dir. stephen herek.
@lecomtedelafere God tho, them wasting no time at all in establishing valjean’s possible sexual interest in fantine at the factory, wasting no time at all in implying that the reason he fired her is because he was furious that she denied him access that he believed she was giving others. fantine’s scenes in the factory are just “at the end of the day” but with valjean in the place of the foreman and with no one in the place of valjean. only a handful of people care about fantine as a person in bbc and all of them are women and only one or two of them seem to actually try to help, and even then it’s in scenes that are each only a handful of seconds long. bbc treated the women of les mis far, far worse than the book did and i can only imagine how it treats constance and queen anne and milady de winter. cripes.
#why did they do that to jean valjean
because they’re afraid that strong gentle men who struggle internally with being good while succeeding externally (for the most part) aren’t ~cool to watch~
good fathers are “boring” and men who don’t need to be invested in a sexual relationship with women in order to help them are “unusual”
that’s the only explanation i can think of
i feel like i would be kinder to bbc’s musketeers if bbc hadn’t just dropped that horror of a les mis adaptation but they Did That and now i’ve gone feral and cannot return
athos + milady during the venice heist - the three musketeers (2011) dir. paul w.s. anderson.
jim paxton is just very in love with his wife and boyfriend and that’s all there is to it!!
not that i’m actually on this blog much at all (yo my personal is just -socks instead of -arts), but i’m basically rochethos and scott lang/maggie lang/jim paxton blog now. is that a weird amalgam? yes. have i absolutely no shame? also yes.
