Latest Posts by mightybog - Page 6

Eugene gets me

Muppet King Arthur is the third Muppet "fairy tale" comic book adaptation. It was written by Paul Benjamin and Patrick Storck with art by Dave Álvarez for the first issue and James Silvani in issues 2 through 4. "A" cover art is provided by David Petersen with "B" cover art by Álvarez on issues 1 and 2, and Silvani on issue #3 and 4. All four issues have a limited edition "C" cover by Amy Mebberson, available through Jetpack Comics.

King Arthur - Kermit the Frog Morgan le Fey (later Morgana le Fey) - Miss Piggy Sir Sam of Eagle - Sam the Eagle Mordred - Robin the Frog The Lady of the Lake - Janice Merlin the Magician - Rowlf the Dog Sir Percival - Fozzie Bear Sir Lancelot - Gonzo Lady Guinevere - Camilla the Chicken Sir Gawain - Animal

By this logic, Sir Galahad is Pepe.

Irish megalithic sites illustrated by Paul Blades.

“how did you get into writing” girl nobody gets into writing. writing shows up one day at your door and gets into you

bat

Aberdeen Bestiary, England ca. 1200

Aberdeen University Library, MS 24, fol. 51v

Late 60s Early 70s medieval revival part 1

A 5200-year-old pottery bowl from Shahr-e Sukhteh bearing what could possibly be the world's oldest example of animation. It shows 5 images of a wild goat leaping, and if you put them in a sequence (like a flip book), the wild goat leaps to nip leaves off a tree. Museum of Ancient Iran

the clanging of his armored ass cheeks brought down the walls of many a castle

If you see this you’re legally obligated to reblog and tag with the book you’re currently reading

MERLINLADIES’ FAVOURITE COSTUMES Gwen’s embroidered top and fur vest in 4x13 “The Sword in the Stone: Part Two ”

it’s finally december which means it’s green knight season. who wants me to be their third

@bubblo literally the conversation we were just having. Literally me with Otto.

I'm so happy his hopeless pining is overrr 😭

“who’s your favorite character?” my friend’s oc. “who’s your favorite character in canon?” my friend’s oc. “your favorite character can’t be your friend’s oc!” the posters on my walls and discord messages say otherwise. my wound has a heartbeat and only my friend’s oc can fix it. goodbye chat

See, our first mistake was trying to have a civilization in northern Europe between October and February. The darkest three months of the year should be for staying home under the blankets, midwinter festivals, and getting blind drunk when the sun goes down at 4 pm like the bog gods intended.

Eeee finally, the old man yaoi Christmas story I've been waiting for and it's PERFECT 😭❤️! Look at our not boys being nervous and brave. And their mistletoe plans at the end, I squealed. Thank you @liviapeleia for this Christmas miracle.

for the @merlinmicrofic prompts "And the truth?" and "frozen" Gaius/Geoffrey, G, no warnings, 490 words + 500 words, AO3 link

Summary: After Alice had to flee Camelot, Gaius finds a sympathetic ear - and possibly more - in Geoffrey.

Dedicated to @mightybog, who has proven a staunch supporter of my idea that Gaius and Geoffrey should go on a Christmas market date. So, happy Advent season, and happy old man romance season!

oh hush the noise, ye men of strife, and hear the angels sing

chapter 1 (prompt: And the truth?)

Sometimes it's not the search for bookish wisdom that drives a person to the library. Sometimes a person might shuffle wearily that way because it is the path they've always taken when at their wit's end.

Alice had been rescued, and yet, to Gaius, she was lost, once again. He doubted he would ever see her again, and under the circumstances that was for the best – he couldn't have gone with her and left Merlin to his own devices, the foolish boy, and Alice could not stay, too great the risk of discovery.

Uther's laws had driven her from Camelot a second time. Whatever resentment Gaius might feel at that, he neatly packed it away. It was not so bad, the life of an old bachelor. At least he would wake no-one if he snored.

The library was blessedly quiet. His feet carried him to the medicine and anatomy tomes on their own accord. So much time had he spent here with Alice, more than two decades ago. Back then, the collection had been so much more expansive. Now, half of it was missing. Knowledge hidden, shunned, burnt.

He stared at the bookshelf like it was a metaphor for his own life.

“What is it you're looking for, old friend?” came Geoffrey's voice from somewhere next to him, surprisingly gentle and surprisingly close. The man could be more quiet than you'd think, or maybe Gaius was just developing paracusis.

“A book.”

“You'd think so, in a place like this.” Geoffrey sounded vaguely amused, but then he focused his gaze and his concern firmly on Gaius. “And the truth?”

Gaius hummed. “Maybe I needed to get out of my workshop for a while.”

“Escaping the young folks?”

“Merlin was right, and I was wrong. Sometimes it's not easy to admit. That you've been blind. And wilfully so.”

“Is it about Alice?”

The bluntness felt like salt in the wound, though probably it was cauterisation, painful in the moment but beneficent in the long run.

“I had thought we could continue where we'd left off, twenty-odd years ago. But I realise I chased a dream. We've both changed, we're not the same people anymore who fell in love back then.”

“And she also tried to murder the king,” Geoffrey added pointedly.

Despite himself, Gaius chortled. “That too, I suppose.”

Geoffrey betrayed his own amusement only with a twitch of the corner of his mouth, an assassination attempt being no laughing matter after all, but it was enough to show his commiseration, and for them to connect over the absurdity of the situation.

“For what it's worth, you still have me. And now you better go back to supervise your boy before he sets fire to the workshop.”

Gaius saw right through the attempt to pry his attention away from the books, from the past, from Alice, but let it happen nevertheless, secretly grateful, and took his leave. “Thank you, my friend.”

“Anytime.”

chapter 2 (prompt: frozen)

Sometimes it's not the need for a remedy that drives a person to the physician's workshop, though by the time he reached the end of those stairs, Geoffrey might actually need one.

Winter had settled over Camelot. The days were cold and crisp, the windows opaque with frost flowers, and Geoffrey's old knees a bit stiff and achy as he made his way upstairs.

“Ah,” said Gaius, looking up from a phial and owlishly squinting at Geoffrey before remembering to take his reading glasses off.

“I've never quite understood why they put the physician in a tower,” Geoffrey huffed, trying to catch his breath. “Am I interrupting, are you busy?” He almost hoped he was, so he could have an excuse to delay his plan – whoever claimed that being nervous undertaking endeavours in the area of romance were the sole domain of young folks was clearly wrong.

“Nothing that can't wait. You are a most welcome visitor for whom I gladly set aside my experiment.”

Most welcome? Geoffrey stood an inch taller.

“I was wondering if I might tempt you to a breath of fresh air? The merchants have set up the winter market, and...” Whatever he had planned to end the sentence on fled his mind.

“If you don't mind being seen with an old fool?”

“Please, Gaius, I've never once considered you a fool.”

“I'll fetch my coat then. Merlin, if you're done with your reading you can finish this, see if you can perfect the tincture, just–”

“–don't blow it up again, I know.”

Geoffrey hadn't even noticed the boy sitting there, looking back and forth between them with dawning understanding and something between fascination and juvenile mild disgust.

Was it so obvious? Geoffrey's face was suddenly burning.

The market was lovely. Frost-coated trees glistened in the sun. Fire baskets created pockets of warmth as respite from the frozen world.

They each got an earthen cup of mulled wine to warm their hands on, which Geoffrey insisted on paying for, then took to ambling, admiring the artisans' work. Geoffrey bought himself a knit hat and preened when Gaius called it “quite fetching”.

Gaius acquired a bag of roasted almonds and insisted on sharing, and then they carelessly reached for it simultaneously and their fingers brushed, and both of them stilled and the touch lingered for a moment. After a conspicuously inconspicuous glance, Gaius hastily pointed out a vendor's impressive supply of dried herbs, a welcome treasure in the winter.

“And look at that, fresh mistletoe,” he noted, and after clearing his throat and shuffling his feet added, “I should get some for my apothecary. And you could get some to decorate the library. Or your home.”

“Hm,” Geoffrey said, heart racing. “Only if you help me hang them. And you could stay for a while. Admire the decoration.”

“I'll take five,” Gaius told the vendor, and then, mistletoe and almonds in one hand, and reaching for Geoffrey's own hand with the other, marched back towards the castle.

After the Quest

the author's barely disguised open wound splattered livid and filthy across everything they create

You don't need a "WIFE". What you NEED is a beautiful priestess of the old religion to lead you down a dark path.

i cannot hate myself into a version of me i will love.

in every timeline you are the love of my life or whatever he said

Instinctive, Unique, and Unseen Powers of Merlin

Fandom often ponders the nature of Merlin’s powers, given how little we truly see of them. He uses certain spells repetitively, like his telekinesis, but we are told this can be learned with practice or a conduit (such as Gilli’s ring). So what powers distinguish Merlin as “the most powerful sorcerer ever to walk the earth” and why does he use them so little?

1. Ability to use magic with no physical conduit or verbal components

While we see many magic users throughout the series express this power (Morgana, Nimueh, Mordred, and Finna, to name a few), that number is disproportionate to the general population of sorcerers. There are so few who can that Gaius doesn’t believe they exist until he meets Merlin. Even so, Merlin is possibly the only one who could do this “since before [he] could talk.”

Before the Purge, it is likely that sorcerers with the innate ability became initiates of the Priesthood early in life and kept this power secret, which would also explain why Gaius didn’t know it was possible, despite apparently studying for years let’s discuss the implication of wizard schools later though

Theory: born-sorcerers act as a conduit for magic, and learned sorcerers use spells or objects to direct their focus. Merlin is different from both because he is “magic itself,” therefore no conduit (verbal or physical) is needed. He can simply will it into being. However, conduits can help him control how much force is used. Note the difference between his spells and his reflexive magic against the serkets in 3x01.

2. Taming, summoning, and hatching dragons + understanding the dragon tongue + other dragonlord abilities

Merlin’s dragonlord abilities are established in “The Last Dragonlord” and “Aithusa.” He is obviously not the only person to have this ability, but he is the last known dragonlord in Albion, ranking him higher in power than most other figures of magic.

Not so fun fact: Gaius knows for years prior to Merlin’s arrival in Camelot that he is the son of a dragonlord, but doesn’t seem to know much about their powers beyond the obvious. Balinor is not surprised that Merlin uses reflexive magic, which means it must be seen among his people, Balinor included. However, most knowledge of dragonlord culture would have died with Balinor and Kilgharrah, assuming they were as secretive as the High Priestesses on the Isle of the Blessed.

3. Senses when an object has magic and when powerful magic is used

This includes the alchemy stone, the staff Morgana used to unleash an army of the dead, the eye of the phoenix, the cup of life, the marks Finna leaves, and more. This power is expressed in other magic users, but it is still incredibly rare and only appears amongst the most powerful, such as Morgause.

4. When magic is strong in a particular location, Merlin can feel the effects on the surrounding environment

Merlin easily idenitifies the sacred grounds of the Disir because he can feel the liveliness of “every tree, every leaf, every insect,” and is shocked to find that Arthur cannot do the same. This implies much about Merlin’s relationship to nature and how deeply his magic is connected to his personhood, as he is under the impression that his experience is the universal standard for humans well into his twenties. Merlin has understood nature in this way since birth. It can be inferred that, given Arthur’s shock, Morgana did not share in this trait of Merlin’s. It is unheard of.

Genuine question: if nature responds to powerful magic, does that mean plants and animals respond to Merlin in the same way? And if Merlin has such an intricate form of communication with plants and animals, does this explain his “funny feelings” in cursed places and when he’s being watched?

5. Ability to slow or stop time

Merlin slows time twice in “The Dragon’s Call,” once to save Gaius and then to save Arthur, and does so again in “The Gates of Avalon” to watch the fae. It is unclear if this is a conscious decision or if he relies on instinct to do it. This is a considerably rare power we see from no one else in the series. In fact, we never see Merlin use it past season 1. This makes sense from a plot standpoint as it vastly overpowers him (though it is dependent on Merlin’s reaction time) and with the theory that it is a purely reflexive ability.

6. Eavesdrops on Druids’ telepathy

Those capable of telepathy can only communicate directly one-on-one, never suspecting that they can be overheard (“The Nightmare Begins” and “The Witch’s Quickening”). Merlin does not listen in by choice, merely hearing it within a certain range.

7. Sees through certain transformation or illusion spells

Merlin identifies Gwen through the animal transformation spell that Morgana used in “The Hunter’s Heart.” It is unclear whether other magic users can do this, but people without magic cannot.

Deduction from canon material: Merlin likely saw through the spell because he sensed that the “deer” was human. This may mean that the reason he can’t see through aging spells is because there are few vital differences between an older and younger version of oneself. However, he also didn’t see through troll Catrina’s disguise—maybe he learned to recognize the feeling, which is why it takes a moment to realize it’s Gwen? Or perhaps the spell on Gwen was more of an illusion than a transformation (as opposed to the one the goblin uses on Arthur), which would mean he sees through illusions but not transformations. Luckily, he saw and heard Donkey Arthur clear as day.

Actual fun fact: silver represents purity, which is why a mirror shows a person’s true image (think Mary Collins in 1x01). Merlin also represents purity and, whether it’s instinctive or not, carries on the theme of seeing a person’s true self when others cannot.

8. Witnesses the future and the past

In the Crystal Cave, where the Crystal of Neahtid was hewn from, Merlin sees uncontrolled visions. Very few can use the crystals, only the most practiced and powerful. Using the crystals visibly pains Merlin (beyond emotional damage). However, he learns to control and actively choose what the crystals show.

9. Scries in his mind

When we see other sorcerers scrying, they usually accomplish it with a magical crystal or in the surface of water. Merlin, though, scries subconsciously (and possibly without a spell) in “The Poisoned Chalice” to locate Arthur and send him a light. He presumably has no memory of doing this when he wakes.

10. Controls the weather

Whether this entails creating a wind (“The Mark of Nimueh,” “The Moment of Truth,” and “A Servant of Two Masters”), calling down a lightning storm (“The Questing Beast” and “The Diamond of the Day p2”), or creating a fog (“The Nightmare Begins”), Merlin appears to be the only person besides Cornelius Sigan (who purportedly “turned day into night”) and Nimueh that can change the weather. It is another aspect of his instinctive/elemental powers, as he can do so with no verbal or physical conduit, though he typically uses one anyway.

11. Immortality

Merlin is referred to by the Druids as “Emrys,” which translates to “Immortal One.” He apparently dies multiple times, or should have died, but comes back. There is usually some plausible deniability for this, as confirmation of Merlin’s immortality only happens in the finale (though it is implied as early as his mistaken death in “The Poisoned Chalice”).

Balinor says to Merlin, “[…] You have always been, and always will be,” though it is not confirmed whether Merlin understood this was a reference to eternal life (Balinor says he himself, as a spirit, will “always be,” so Merlin may have misinterpreted it). However, it is revealed that Merlin lives into the modern day, making him over 1,500 years old.

Other sorcerers seek immortality and longevity, but none are naturally immortal like Merlin is. Sigan impants his soul into a crystal, for example, and possesses living human bodies. Had he actually managed to possess Merlin, perhaps he would have achieved immortality after all. Too bad.

12. Classifiable as a creature of magic, but not so much as a human

A person can be both a human and a creature of magic, but Merlin’s status as the former is debatable.

Merlin is the human personification of “magic itself,” though what this implies is initially unclear. However, the fact that Merlin “always has been” (he existed long before his human form) and is not bound by the rules of mortality may mean he is beyond human. In Celtic legend, Merlin is considered a nature deity, closely mirroring many of his characteristics, like his sensitivity to nature and control of the elements.

Merlin as a deity has greater implications for world-building and creates more questions than it answers, but that’s half the joy of it.

13. Immense Power

While this is not a power in and of itself, Merlin’s sheer, innate power also influences his place on the scale of most to least powerful among sorcerers.

Merlin defeats sorcerers who are deemed untouchable, such as Nimueh and Cornelius Sigan. He is able to hold an aging spell, which quickly tires Morgana and Morgause, for extended periods—in fact, he has more difficulty turning himself back. He even holds an aging spell while summoning a goddess, despite the exhaustion it would cause a less powerful sorcerer. Additionally, he wields the Sidhe’s staff weapon, though it is unknown if sorcerers like Gaius or Morgana can do the same.

Merlin may also overextend his powers at times, such as when he tries to warm Arthur’s bath but sets it to a boil, though this may be attributed to other factors. He consistently underestimates his ability to perform powerful spells, only to use them with ease later on (like the spell he uses on the Griffin, which he uses on the Questing beast and the dragon as well).

Why don’t we see more variety in Merlin’s powers?

As Merlin learns more spells, his reflexive magic becomes far easier to control, which means he no longer uses it unintentionally not often, anyway and therefore becomes reliant on a limited number of learned spells instead of instinct.

Is this an extended metaphor for how Merlin loses his sense of self because he is guilted into believing that magic (remember that Merlin is magic itself) should only be used as a tool? Probably.

Furthermore, Merlin is a sorcerer who is employed in Camelot, which means he cannot practice his magic as often or as freely as Morgana can in her woods hut or revamped castle ruins. Merlin tells Arthur in 5x13 (as well as Lancelot in a deleted 4x02 scene) that he forgets to use magic sometimes out of “habit,” since he will be burned to death if he is caught. Merlin’s concern about using magic in Ealdor is that he won’t be able to protect Arthur anymore if he’s discovered, which doesn’t weigh on most sorcerers’ consciences.

Is this also an extended metaphor for how Merlin loses his sense of self because he is guilted into believing that magic should only be used as a tool? Probably.

And, of course, Merlin’s resources for learning magic in Camelot comes down to what Gaius has to offer. There’s not much opportunity for learning magic in Camelot, though it seems there was a multi-kingdom education system in place before Uther’s Purge. Gaius tell us about your wizarding school challenge.

Is this an extended metaph- what’s that red dot on my chest for?

Arthur & Merlin or Arthur/Merlin (you decide) | Teen & Up | No Archive Warnings Apply | Word Count: 500

Arthur Pendragon Returns | Angst | Language Barrier | Sad Ending

For @merlinmicrofic with the prompt "frozen"

Arthur returns but Merlin finds he can no longer understand him.

“You can't understand me, so I will say this-”  “I’m sorry I couldn't stay the same.”  “If I was afforded the choice, Merlin, if there were only one thing left of my kingdom, one soul, it would be you.”  “I've lived so long, I've lived too long.”  “So please.”  “You deserve someone who could’ve held on for you.”  “I need you to understand.”

☾ ☾ ☾

A snowstorm, a series of blue arrowheads and an infernal swirl on the television, arrived a few days before the winter solstice. The dead silence, the disappeared roads and finally, the sudden interruption to the electricity called to Merlin’s slow, ancient mind the way the world had once been, quieter, colder.     

It was then that he felt Arthur’s impending return, unmistakable, a change in the seismograph. 

The lake was solid and as blue as the dawn sky above it. 

The ice was singing like steel cables and whale song. He had waited here many times before, mad with certainty and loneliness that this was the day. 

But this was the day. 

The song rose in tempo, and in a sudden crack, a familiar boat. 

Merlin stumbled forward, fell through where the ice was thin and before he knew it, the once king, the future king, was gathering him, shivering, in his arms.  

Merlin clutched onto him and in his ear Arthur said- 

What were these words? Hard consonants so wholly unfamiliar that Merlin wondered if he had ever understood them, if the same sounds had ever passed his own lips. Emotion broke every other syllable, he could understand the utter relief in them, but the words themselves? 

“I don't- Arthur I don't understand.” 

***

Before they could understand each other without words, but no longer, not when there was so much to say.

Merlin tried, but his eroded memory had too long forsaken learning. The weeks went on, and in the tense and then pleading sounds that Arthur made, Merlin understood two things: Arthur had been frozen and had emerged from the lake perfectly intact; Merlin however could not breach the surface of his own stagnant pool. 

Arthur continued his noises, his hard consonants and the occasional gnashing of his teeth, and Merlin despaired. 

***

It wasn’t fair, Merlin knew. Time meant denial was robbed from Arthur’s grieving. Now Merlin was asking him to bury understanding along with their friends. Instead he piled all of that denial onto Merlin’s unyielding tongue. 

One day in the dusty, moldy space that Merlin resided in, that he struggled to keep in order with time rushing past him as it did, Arthur snapped. He seized his arms, his eyes wild, wet. 

“You’re not trying!”  he cried, angry, in that language Merlin no longer possessed.

“I don't- I’m trying.” 

“You're all that's left.”  

“I’m sorry, Arthur.” 

Sometimes a word would prick Merlin’s ears, and he would hear Welsh, Latin, or else it would stir something in his long memory, but it was recognition without comprehension. The words transformed and melded together, evading his grasp. 

“You can't understand me, so I will say this-” 

“I’m sorry I couldn't stay the same.” 

“If I was afforded the choice, Merlin, if there were only one thing left of my kingdom, one soul, it would be you.” 

“I've lived so long. I've lived too long.” 

“So please.” 

“You deserve someone who could’ve held on for you.” 

“I need you to understand.”

now 2 beanie baby dragons are crossing your dash together :3

12 Days of Medieval Illuminations. Today, 11 medieval suns. (Getty Museum)

Camlann Pod is just a little over halfway to its goal! If you're looking for a fresh, queer Arthurian story this is for you. Check it out and donate to their Ko-Fi because you're going to want a season 2!

LIVESTREAM MARATHON - THIS SATURAY 30TH NOVEMBER!

Come help us raise money for season 2 of Camlann by tuning in to our twelve hour marathon on the @tincanaudio Twitch channel!

There'll be 27 prizes available, including the only Camlann merchandise currently in existence: 9 posters with our show art, and 9 custom campfire patches made by our very own Ross McFarlane, as well as 9 hardback copies of Ella's TTRPG Upriver, Downriver thanks to the generous support of @macguffinandco.

Plus! We're going to be joined by amazing guests from all across the podcast landscape, joining us to chat about folklore, mythology and much much more. These guests will include: Motzie from @hinaypod, @laurenshippen, Eira from @hangingslothcentral, Cat from The Call fo Cthulhu Mystery Programme, Gabriel and Sarah from Wolf 359, Marc from Archive 81, Steve from Old Gods of Appalachia, Joe from Midnight Burger, Richard from Visionaries, and Eleanor and Martin from the Three Ravens podcast!

And of course, the cast and crew will be there to chat and joke along as we relisten to series one of Camlann, with an episode on the hour every hour from 3pm GMT.

So please - come say hi, tell a friend, and consider donating to help us make season 2. We can't wait!

Keep the fires burning.

Thanks @achillesuwu for the tag!

I was listening to I Might Float by Syd Matters for maybe the thousandth time and I suddenly realised I'd never looked up the meaning (it has some fairly unusual lyrics). So my last googled thing was "Syd Matters I Might Float meaning." The search was a little fruitless and I only found a few people speculating on Reddit. Oh well!

@breadkween and @liviapeleia tagging ye if you feel like doing it!

last google search, go

um. Tag four people.

what do they make sewer tunnels out of

@ncc1701ohno @affixjoy @the-magpieprince @twinkboimler

The horror of Eric Carle

Becoming a dad has really been a reminder of all the half-forgotten books that got me interested in horror: the ones that I will definitely share with my kid (The Minpins) and the ones that I probably won't (Not Now, Bernard)

And then there's Eric Carle, and now it's all coming flooding back - the very first time in my life that I experienced terror. Seriously, what the fuck is this?

Carle's most famous book, The Very Hungry Caterpillar, is in its own way uneasy and strange (the caterpillar's voracious and growing hunger is presented ambiguously both as an unavoidable and natural process of change and something greedy and grotesque; the caterpillar appears to devour its own place-of-birth and then feels good about it) but it flies under the radar by being very unCarle-like. The caterpillar is largely tiny and cute, we get plenty of colourful close-ups of tasty-looking food, and there are only two pages and a cover which feature Carle's favourite preoccupation: giant animals with irregular, scissor-cut eyes staring unhappily at the reader as they threaten to grow larger than the page itself.

I genuinely remember feeling deeply unnerved by Carle's first major piece of illustration work, Brown Bear, Brown Bear, What Do You See?, written with Bill Martin Jr., but only now do I understand why. Holy shit, I have so many questions.

Brown Bear, Brown Bear, What do you see? I see a red bird looking at me.

Why is the rhyme-scheme so frantic and breathless, like it's being chanted out during an escalating ritual somewhere deep in the forests? Why are the animals - textured via collage as if half-carved from wood themselves - staring directly at us, the audience, before then revealing that they're actually looking behind us at something else which is staring back at them in turn? Why do so many of the animals look so fearful and haunted as they acknowledge the vast web of visibility which exists between them?

Why does the 'white dog' page - perhaps the only-genuinely-friendly-looking animal - briefly plunge us into night-time, creating the impression that these creatures are somehow watching each other across spans of time and space, when Carle is fully capable of just drawing an outline around the dog?

Why is the teacher's neck extending like a xenomorph's tongue as she glares with narrowed eyes down at the children (what horrible act have they caught her doing?) Why is the cover of follow-up Polar Bear, Polar Bear, What Do You Hear clearly depicting a Tuunbaq stalking the reader?

What seems remarkable and bizarre is that Carle, a talented artist, deliberately chooses to draw animals for infant readers which are neither cute nor charming but which consistently embody the internet joke about hares - feral wilderness prophets who've glimpsed the truth of the universe and gone mad - and has made a stunningly successful career out of doing so.

Carle's beasts know something terrible that they do not fully understand, and which they are incapable of sharing with us.

I'll avoid the crass temptation to draw serious biographical inferences here (Carle believed he had PTSD from an adolescence spent in Nazi Germany, and his works were inspired by his childhood walks with his father, who returned home psychologically shattered by his own experiences as a Soviet prisoner-of-war) and just say that there is something wonderful, awful and innocent in the fact that perhaps the most popular baby-book artist of all time, when asked to draw a goldfish, would respond with what is clearly a monstrous open-mouthed leviathan rising up from black depths to devour us all.

Look at this horrible fucking thing. It rocks.