Luncheons & Dragons

variou:

blastortoise:

cadburycreamcoolator:

*long deflated sigh*

I’m throwing up

I am going to murder.

Funkiest Sega MS music

nietzschesghost:

kingwithahundredhearts:

medievalpoc:

medievalpoc:

The all-white reinvention of Medieval Europe commonly depicted in popular fiction, films, tv shows and art is entirely that: a fiction. An invention. An erasure. Obviously, people of color have been an essential and integral part of European life, European art, and European literary imagination since time immemorial. To cite “historical accuracy” as a means to project whitewashed images of the past into the future to maintain a fiction of white supremacy is an unconscionable farce.

People of Color are not an anachronism.

Follow.

Ask.

Submit.

1. Don Miguel de Castro, Ambassador for the Kingdom of Kongo to Dutch Brazil (1637)

2. Xiang Fei (Fragrant Concubine), of the Uighur, in European Armor (1760)

3. Sir Morien, Black Knight of the Round Table (c. 1200s)

4. Manuel I Komnenos and his second wife Maria of Antioch (c. 1150)

5. Sancho I of Castile and Léon (c. 1129)

6. Portrait of Maria Salviati de’ Medici with Giulia de’ Medici (1537)

7. Mulay Ahmad portrait by Rubens (1609)

8. Adoration of the Magi by David (c. 1490)

9. special post about the Fayoum Mummy Portraits (c. 100 B.C.E.)

10. Miniature from a Psalter, Including a Calendar (c. 1240)

Medievalpoc does it again.
The notion that the fucking Komnenoi, of all people, were black, is mind-boggling. Like, seriously. Manuel I Komnenos was half-Greek, half-Magyar. Unless medieval Hungary was really black, I don’t think so.

It makes me sad because otherwise pretty solid blogs are lapping up more and more Afrocentrism, and people like medievalpoc are happily providing it.

Honestly as soon as I get my resources in order and some spare time on my hands I feel almost obligated now to do a series on actual African civilizations and culture because Afrocentrism devaluates the reality of African history.

I think it can be best summed up as “no, we aren’t happy with the cultural achievements of tangible and related-by-African-sources black African cultures, despite being so radically opposed to white academia we need to find *our* black!Greece, *our* black!Egypt, “our” black!Rome etc.”

African culture, civilization and history is fascinating enough and can stand on its own without misguided attempts to imitate and renegotiate past brown and white civilizations.

>Medieval period
>Imagery from post medieval period
>Imagery from China

This is truly insulting to everyone involved. If you need some sort of validation for “poc,” just remember that white people did not win the Early or High Medieval periods (approximately 500-1200 CE, many start the Early Medieval period around 800 (the crowning of Charlemagne as the first Holy Roman Emperor), but from my perspective there was no such thing as the Dark Ages).

This time period saw the ascent of the Islamic world, including Mali growing rich on trading gold across the Sahel. South-East Africans had trade relations with India and China, participating in the lucrative Indian Ocean trade going on. When the short-lived Emirate of Sicily came upon the “Holy Roman Empire” in the 900’s they barely recognized that it was even a governed state, because they were so much more civically advanced. And while you shouldn’t deny the scientific and mathematical efforts of Medieval European scholars (as many do), you can’t deny the scientific and mathematical triumphs of the Islamic world, or the Indian world from which they derived their numerals. Immediately after 1200 the rise of the Mongol Empire began, which conquered the “non-poc” Russians as well as annihilating the Khwarizmian Shahdom, one of the greatest land-based Empires since Alexander the Great. In 1453 the last true surviving remnant of the Roman Empire, Constantinople, was conquered by Mehmet II of the Turks. Both the Mongols and later the Ottoman Turks threatened the kingdoms of western Europe. Neither were even particularly interested with Europe, however, the Mongols because they were much more concerned with conquering China and the Turks because they were fractured and grew very rich off of trading with the Europeans. So if you want a time period where non-white people were the important ones, this is really it. 

But what is more telling is that those “poc” did not really see themselves as distinct races as we would understand it. Both Islam and Christendom drew at least some of their authority from the classical world. The Shah of Khwarizm, who I mentioned earlier, styled himself as the new Alexander the Great. When Mehmet II conquered Constantinople he claimed the title “Kayser-i Rûm,” Caesar of Rome. His claim wasn’t recognized by the Patriarch of Constantinople, but then again neither were Charlemagne’s or Otto’s. Both European and Islamic scholars saw themselves as successors to classical scholars like Aristotle (a man we would today classify as white). 

The Mongols, though they considered all non-Mongols their natural subjects and inferiors, acknowledged the Pope of the West as a king-like figure to be addressed with some degree of respect. They valued the lives of important people across racial and ethnic lines, and were not above “going native” to get the job done. Kublai Khan adopted the culture of China, Mongols who invaded Islamic territories converted to Islam and began to take on the cultural trappings of those regions. If the Mongols had successfully taken Europe we might be talking about King Chagatai of France and King Batu of Spain. The point is that the people of the Medieval period did not understand the world this way, so to project that world-view onto them would not serve any real purpose setting-wise.

Besides; aren’t you tired of seeing Medieval England, France and Rome by now anyway? Can’t we get Medieval Timbuktu or Baghdad or Samarkand in a game? 

monsieurdangereux:

I was discussing Future’s End in the comic shop yesterday and I mentioned how if, in the 5 years from now that DC is showing us, if Amanda Waller is not fat that I will punch someone.

I still stand by that statement. If Amanda Waller is still skinny, someone will hear about it. Also if Aquaman doesn’t have a hook.

I think if they made the hook like, important to his character and had a better story written around him getting the hook (rather than just some throwaway villain and a pool of piranha) it could work. I guess they did an o-kay job in Justice League. Aquaman’s costume is like, the coolest thing though, so I wouldn’t ever want them to change that. And I appreciate pretty-boy Aquaman myself.

monsieurdangereux:

I was discussing Future’s End in the comic shop yesterday and I mentioned how if, in the 5 years from now that DC is showing us, if Amanda Waller is not fat that I will punch someone.

I still stand by that statement. If Amanda Waller is still skinny, someone will hear about it. Also if Aquaman doesn’t have a hook.

Amanda Waller should totally not have been thinned down, she was already fantastic. Aquaman’s hook-hand was pretty lame, though. And I say this as a fan of Peter David and someone who thinks 90’s Aquaman holds up much better than a lot of other 90’s garbage. 

what she says: i'm fine
what she means: Take a look at this. That right there is the mail. Now let’s talk about the mail. Can we talk about the mail, please, Mac? I’ve been dying to talk about the mail with you all day, OK? “Pepe Silvia,” this name keeps coming up over and over again. Every day Pepe’s mail is getting sent back to me. Pepe Silvia! Pepe Silvia! I look in the mail, and this whole box is Pepe Silvia! So I say to myself, “I gotta find this guy! I gotta go up to his office and put his mail in the guy’s goddamn hands! Otherwise, he’s never going to get it and he’s going to keep coming back down here.” So I go up to Pepe’s office and what do I find out, Mac? What do I find out?! There is no Pepe Silvia. The man does not exist, okay? So I decide, “Oh shit, buddy, I gotta dig a little deeper.” There’s no Pepe Silvia? You gotta be kidding me! I got boxes full of Pepe! All right. So I start marchin’ my way down to Carol in HR and I knock on her door and I say, “CAAAAROL! CAAROOOLLLL! I gotta talk to you about Pepe.” And when I open the door what do I find? There’s not a single goddamn desk in that office! There…is…no…Carol in HR. Mac, half the employees in this building have been made up. This office is a goddamn ghost town.
shooptastic:

dorothy-cotton:


Cannibal Holocaust | 1980
This scene was examined by Italian courts to determine whether or not special effects were used.
When Cannibal Holocaust was originally released in Italy, people believed that it was a genuine snuff film, where actors were murdered so that their deaths could be made into a movie. The film was confiscated ten days after its premiere in Milan, and the director Ruggero Deodato was arrested. The actors had signed contracts with him ensuring that they would not appear publicly for one year after the films release, in order to promote the idea that the film was truly the recovered footage of missing documentarians.

They created the impaling effect by putting a bike seat on the lower half of the stick for the actress to sit on, while she balanced a piece of balsa wood in her mouth

oh my gosh that is interesting

The only real problem I have with this movie is the unnecessary murder of a tortoise on-screen. That part is horribly cringe-inducing and the reason I’ve only seen this movie once (and the reason I can no longer watch Milo & Otis). 
Apart from that it’s a seminal work. The plot is actually a commentary on the nature of film. It’s a shockingly self-aware comment on trashy exploitation movies. The film crew are dissatisfied with the real natives they discover and so attempt to manufacture violence for drama and entertainment. They murder innocent people to portray their society as savage and violent (the film beats you over the head at the end with the idea that the westerners are really the savages). But then they actually create the horrifying scenario they were faking and it turns on them. The art of film, and the negative perception of indigenous peoples it perpetuates, shapes reality. It’s typical that very violent exploitation films go for that kind of artistry, but rare that they achieve it as well as this one does. Cannibal Holocaust succeeds because it is a movie about exploitation in art. 
And it has a beautiful theme song by Riz Ortolani. 
No matter how bad Italian cinema in the 70’s and 80’s ever got, they still had people like Ortolani, Oliver Onions, etc. making wonderful music. 

shooptastic:

dorothy-cotton:

Cannibal Holocaust | 1980

This scene was examined by Italian courts to determine whether or not special effects were used.

When Cannibal Holocaust was originally released in Italy, people believed that it was a genuine snuff film, where actors were murdered so that their deaths could be made into a movie. The film was confiscated ten days after its premiere in Milan, and the director Ruggero Deodato was arrested. The actors had signed contracts with him ensuring that they would not appear publicly for one year after the films release, in order to promote the idea that the film was truly the recovered footage of missing documentarians.

They created the impaling effect by putting a bike seat on the lower half of the stick for the actress to sit on, while she balanced a piece of balsa wood in her mouth

oh my gosh that is interesting

The only real problem I have with this movie is the unnecessary murder of a tortoise on-screen. That part is horribly cringe-inducing and the reason I’ve only seen this movie once (and the reason I can no longer watch Milo & Otis). 

Apart from that it’s a seminal work. The plot is actually a commentary on the nature of film. It’s a shockingly self-aware comment on trashy exploitation movies. The film crew are dissatisfied with the real natives they discover and so attempt to manufacture violence for drama and entertainment. They murder innocent people to portray their society as savage and violent (the film beats you over the head at the end with the idea that the westerners are really the savages). But then they actually create the horrifying scenario they were faking and it turns on them. The art of film, and the negative perception of indigenous peoples it perpetuates, shapes reality. It’s typical that very violent exploitation films go for that kind of artistry, but rare that they achieve it as well as this one does. Cannibal Holocaust succeeds because it is a movie about exploitation in art. 

And it has a beautiful theme song by Riz Ortolani. 

No matter how bad Italian cinema in the 70’s and 80’s ever got, they still had people like Ortolani, Oliver Onions, etc. making wonderful music. 

rvblxnvtur96:

Rebellxnvture

Being a white male in a history class must be awkward considering the fact that they were responsible for every major human tragedy.

http://en.wikipedia.org/wiki/Dschinghis_Khan

This makes me feel many feelings.