Nosferatu (2024) Is Unquestionably A Multifaceted Work, But What I Personally Consider To Be The Unifying

Great block, very beautiful and full of life

Mossy Stone Brick Stairs

i’m making a tv show about A pair of Roommates who are the worlds most unserious Marxist and the worlds most serious Anarchist im calling it All or Nothing please contribute to my kickstarter campaign i will use all the money to buy guns

♦️can't see straight♦️

Pack of Nuclear Torpedo Submarines hunt School of Ocean Sunfish

This fills me with so much happiness!

PLEASE TELL US ABOUT Y DDRAIG TRAWS!

Certainly! I'm more than happy to oblige.

First though I'm gonna need to tldr: the history of Y Ddraig Goch before we get onto the (accidentally) canonically trans part.

A brief history of Y Ddraig Goch:

(The modern Welsh flag)

Y Ddraig Goch first appears in the tales of the Mabinogi (Charlotte Guest version) in the tale of Lludd and Llefelys where it is fighting a white dragon. The fight is also described/expanded upon in the c. 829 AD text Historia Brittonum (attributed to Nennius) - where the red dragon represents Wales and the white dragon represents the Anglo-Saxons. In the story the red dragon triumphs over the white. Of course, Geoffrey of Monmouth also covers the story c. 1136 in Historia Regnum Brittaniae in which he introduces the concept of the red dragon heralding the arrival of King Arthur.

Geoffrey of Monmouth claims Arthur used a banner featuring a golden dragon. But we also know the accuracy of Monmouth can be questionable at times. Owain Glyndŵr did use a banner with a golden dragon called Y Ddraig Aur - raised in 1401 at Caernarfon - Glyndŵr chose this banner as a nod to the supposed banner of Arthur and his father.

Later on the Tudor monarchs (being a Welsh family) adopted a red dragon on a white and green background in their heraldry. Eventually Y Ddraig Goch on a white and green background became the official badge of Wales in 1800. The design became the official flag of Wales in 1959.

Y Ddraig Traws:

Now for the thing you're all here for -

So, as outlined, the history of the dragon as a national symbol of Wales goes back a long way. If we're just talking post-1959, there's some interesting implications for Y Ddraig Goch's depiction.

This is what the Welsh flag (and Y Ddraig Goch) looked like in 1959 when it was officially adopted as the flag of Wales. It looks broadly the same as the first flag and has some common features - such as not having a penis (or, as in the correct heraldic terminology - a pizzle). Meanwhile, in the arms of the Tudors (specifically Henry VII)

(Tudor dragon with pizzle) vs (dragon on the flag of Cardiff - pizzleless)

the penis is almost always included. So much to the point that the present royal family still includes the penis. While pretty much 0 depictions of the dragon in Wales include a penis. So you could interpret this as the dragon is seen as male only by the British royal family and as female everywhere else (which kinda implies that at some point the Tudor dragon had an mtf transition in Wales and she keeps getting misgendered by the royal family every time she is depicted in (mostly) England).

So much to the point that in 1995 this pound coin was made by the Royal Mint featuring the pizzle on the dragon with all four feet touching the ground as opposed to standing up (passant rather than rampant).

But in Wales you'd be hard pressed to see a pizzled dragon anywhere. Ergo, we can only conclude Y Ddraig Goch is trans and she transitioned in Wales and keeps getting misgendered in England.

[note: This is mostly tongue in cheek - but I do think it's fun to extrapolate that the Welsh dragon is trans because of the differences in depiction between Wales and England. Like many things Welsh, it is misrepresented by England and the idea of the Welsh dragon being misgendered only in England is, I think, a good metaphor for a whole lot of English treatment of Wales.]

Unrelatedly, there is a gay Welsh flag held at the National Museum of Wales which has a very wonky dragon which I find very endearing.

(cleaned up version I made)

So much so I made it an emoji in my Welsh bilingual LGBTQIA+ Discord (requirements for joining are - be 16+, either speak or are learning Welsh and identify as LGBTQIA+ in some way. Dm for link!).

(triaist ti 'you tried' emoji)

~ Completely unrelatedly ~ never forget the time someone was trying to homophobic to me by suggesting that I was disrespecting all the soldiers who died 'for the Welsh flag' by making it rainbow colours and not red - arguing that any change of colour of the dragon was disrespectful. Reader, my bus pass at the time for Mid Wales Travel had a purple dragon on it.

Another great book I'm still working on is Don Quixote. Reading the book makes me want to write music for it so badly but how could anything ever compete with Strauss' best work? zomg !! X__X

if game about cowboys why sad?

Oh my god yes literally. Pre transition I had the biggest lighthouse keeper chops and moustache. I miss it sometimes but shaving beats explaining to strangers 🙄

anyway, uh, fish fish fish fish fish

Why do I keep shaving my beard? Is it because I prefer to look more feminine? Is it because I prefer a smooth complexion? No. I shave my beard because I cannot let it get too powerful. I shave it to keep others safe

oooh have you ever done a post about the ridiculous mandatory twist endings in old sci-fi and horror comics? Like when the guy at the end would be like "I saved the Earth from Martians because I am in fact a Vensuvian who has sworn to protect our sister planet!" with no build up whatsoever.

Yeah, that is a good question - why do some scifi twist endings fail?

As a teenager obsessed with Rod Serling and the Twilight Zone, I bought every single one of Rod Serling’s guides to writing. I wanted to know what he knew.

The reason that Rod Serling’s twist endings work is because they “answer the question” that the story raised in the first place. They are connected to the very clear reason to even tell the story at all. Rod’s story structures were all about starting off with a question, the way he did in his script for Planet of the Apes (yes, Rod Serling wrote the script for Planet of the Apes, which makes sense, since it feels like a Twilight Zone episode): “is mankind inherently violent and self-destructive?” The plot of Planet of the Apes argues the point back and forth, and finally, we get an answer to the question: the Planet of the Apes was earth, after we destroyed ourselves. The reason the ending has “oomph” is because it answers the question that the story asked. 

My friend and fellow Rod Serling fan Brian McDonald wrote an article about this where he explains everything beautifully. Check it out. His articles are all worth reading and he’s one of the most intelligent guys I’ve run into if you want to know how to be a better writer.

According to Rod Serling, every story has three parts: proposal, argument, and conclusion. Proposal is where you express the idea the story will go over, like, “are humans violent and self destructive?” Argument is where the characters go back and forth on this, and conclusion is where you answer the question the story raised in a definitive and clear fashion. 

The reason that a lot of twist endings like those of M. Night Shyamalan’s and a lot of the 1950s horror comics fail is that they’re just a thing that happens instead of being connected to the theme of the story. 

One of the most effective and memorable “final panels” in old scifi comics is EC Comics’ “Judgment Day,” where an astronaut from an enlightened earth visits a backward planet divided between orange and blue robots, where one group has more rights than the other. The point of the story is “is prejudice permanent, and will things ever get better?” And in the final panel, the astronaut from earth takes his helmet off and reveals he is a black man, answering the question the story raised.