#not translated

[abybweisse]

Ch227 Spoilers, part 1

This is a wild ride... bringing in a whole group of new characters... and giving us a lot of info on Modri's current state of existence!

From the cover art, I see that this new Hellsing-like dude isn't finished with the demon.

He(llsing) says something to Modri then shoots the demon again.

This demon tries to either attack or simply distract (?) by sending out a snake "appendage", which generally dodges the arrows. Practically ignoring Modri's presence, they are now talking directly to each other.

What's shown here first is perhaps an idea of what reapers might look like. Either that, or he's talking more about someone else, perhaps the leader of their little cult.

Hellsing-dude gets in a really well-aimed shot to the demon's chest area, and the demon, now shot to pieces, starts to fall to the floor.

Possibly seeping through the floor, and the whole time, it is still talking.

Whatever Hellsing-dude says, it's not something the demon wants to hear, and it has somehow regained some of its humanoid form. The demon looks angry now? Notice that the eyes have returned to his face, but now they have switched! Now it's one eye on his right side... and the stacked eyes on his left, which looks more like the cover art that combines elements of this demon with Sebastian's features. 🤔

Whatever words were exchanged, the demon decides to slip down through the floor. Modri tries to reach and grab it, but he misses it. Honestly, if Modri had grabbed at that goop, he probably wouldn't have been able to hold onto it.

Modri seems upset that the demon did not hear Modri's wish to fulfill it, so he's crying and screaming again. Perhaps it's due to something else, but I'll have to see the translation to find out for sure.

Here, Hellsing-dude might be talking about how to dispose of these bodies -- Anna, her family, and the young doctor.

This page might be a conversation about faith, but I'm not sure. There is definitely a panel focused on a small crucifix carried by Hellsing-dude.

The scene changes to where Modri had lived with the master and family he served. Specifically to the wheat fields. But now there's a row of fresh graves in the foreground.

Hellsing-dude finds Modri sitting down and staring out at the fields and the graves, apparently dug by the dude... or maybe Modri's eyes are closed and he's just thinking. He's turned away from us, so no telling.

Hellsing-dude puts a hand on his shoulder while perhaps trying to give Modri words of comfort.

Part two when I can get it done!

[the-jumblr-cookbook]

Iraqi Apricot Meatballs

Ever since I made this dish, I have been singing its praises to whoever will listen. The sauce is so flavourful, the meatballs tender, and the apricots and mint really just top it off.

The original recipe calls for 1 hr cooking time including prep, but the meatballs can be made a few hours ahead, or overnight if needed.

-Mod Asher

Type: meal, meat, kosher

Estimated cooking time: 45 mins (incl prep)

Ingredients:

Meatballs

1 lb/450g - 500g ground beef, lamb, or a mixture of the two.

1 cup chopped Italian parsley

1 cup finely chopped yellow onion

1 tsp kosher salt

¼ tsp ground black pepper

2 slices of bread (like challah or ciabatta), crusts removed, soaked in water - I don't recommend using sandwich or toast bread, as it's too soft.

Sauce

¼ cup olive oil

1 yellow onion, diced

¼ cup tomato paste

1 Tbsp dried mint or ¼ cup chopped fresh mint

¼ tsp ground cardamom

1 Tbsp sugar - if using sweetened apricots, reduce sugar to 2tsp.

1 ½ tsp salt

⅛ tsp white pepper

1 ½ cup water, at room temperature

3 tbsp lemon juice

1 tsp paprika

1 cup (4 oz.) unsweetened dried apricots

¼ cup golden raisins (optional)

cooked rice, for serving

Utensils + Tools:

small and medium bowls

large skillet or saucepan

Large spoon

Knife

Instructions:

To make the meatballs, put ground meat, parsley, onion, salt and pepper in a medium bowl. Squeeze the water out of the bread, add to the beef and mix with your hands. Shape into 1½-inch/3.8cm meatballs and set aside on a tray or plate.

Heat olive oil in a large skillet or pot on medium-high heat, then add onion and saute until golden, around 6 mins. Add tomato paste, mint, cardamom, sugar, salt and white pepper, stir and cook for another minute.

Add water, lemon juice and paprika and bring to boil, then reduce heat and cook on low simmer for 5 mins. Taste the sauce and adjust salt and sugar if needed.

Add meatballs to the skillet and spoon sauce over them. Scatter the apricots and raisins between the meatballs. Bring back to a boil on medium-high heat, then reduce heat to a low simmer (sauce should be forming small bubbles), cover and cook for 15 minutes. Gently flip the meatballs and cook for another 15 minutes until the meatballs are cooked through.

Serve with cooked rice.

CREDIT

The Nosher

[i-luv-tommatt-oh]

https://archiveofourown.org/works/65563873/chapters/177590801

Day 3, I finished a tommatt one shot. Yeah, it's in Russian. Yeah, it was already half-baked. But, you know, it's done now. Day covered. I am not a loser.

[hetaliahottakes]

I LOVE POLHUN!!!! POLAK WĘGIER DWA BRATANKI

~ (¯´★`¯)

[translatetotagalog]

Mula sa ilog hanggang sa dagat, magiging malaya ang Palestine

🇵🇸

Home – 2020

arab.org aims to empower every person & every organization to do Good.

[oddmann]

Lost Smile and Strange Circus LINE Stickers! FINAL PART!

(21-30) <- Back

[polish-art-tournament]

round 1.3 poll 4

+ Opałka details:

which piece do you like better?

Tablica czerwona (A red board) by Jonasz Stern

OPALKA 1965 /1 – ∞; Detal 993460–1017875 by Roman Opałka

Voting ended onDec 8, 2023

Tablica czerwona (A red board) by Jonasz Stern:

propaganda: Wacława Milewska o Tablicy: http://www.imnk.pl/gallerybox.php?dir=XX143 z culture.pl: napiętnował je [kolaże] silnie znakami osobistych, konkretnych doświadczeń. Do nich odnoszą się wykorzystywane w pracach substancje, "pozyskiwane" z otoczenia, na drodze życia: kawałki zwykłych szmat, naklejane na płaszczyznę obrazu, cząstki organiczne (głównie rybie ości i skóry, drobne kości), jak również - pojawiające się niczym stygmaty - świadectwa żydowskiej przynależności (w postaci fotografii z przeszłości czy tałesów). Nadają one dziełom wymiar eschatologiczny. U Sterna bowiem pozornie mechaniczny gest montowania na podłożu drobnych przedmiotów lub organicznych "resztek" ma znaczenie symboliczne. Wynika z doświadczeń wojennych i mającego w nich swoje źródło przekonania o nietrwałości życia i nieuchronności śmierci. Umieszczane w zaszklonych kasetonach elementy nie są jednak bezosobowymi śladami minionego czasu, ale wręcz osobowymi - bo związanymi z konkretnym, indywidualnym doświadczeniem - świadkami. Pełnią rolę epitafiów i zarazem relikwiarzy. Szczątki zwierząt stają się tutaj także rodzajem pamiątek po człowieku. Ślady, które "rejestrował" Stern, stanowią wszakże pamiątki niejako w dwójnasób: są rzeczywistymi "dowodami na istnienie" konkretnego człowieka (rybie szczątki to pozostałości wędkarskich wypraw, które były pasją malarza; zob. np. "Formy zabite II", 1973), ale również symbolicznymi figuracjami cierpień narodu żydowskiego (Upokorzenie, 1984). Oba aspekty fenomenalnie łączy obraz "Tablica czerwona" (1971), który Jan Trzupek przekonująco zinterpretował jako rodzaj macewy. (https://culture.pl/pl/tworca/jonasz-stern)

about the author: Wybuch II wojny światowej zastał go we Lwowie, gdzie po zajęciu tego miasta w 1941 przez hitlerowców został osadzony w getcie. Z getta został wysłany do obozu zagłady w Bełżcu, jednakże udało mu się zbiec podczas transportu i powrócić do Lwowa. 1 czerwca 1943 podczas likwidacji getta, ocalał z masakry gdyż wydostał się spod ciał rozstrzelanych i uciekł na Węgry do Budapesztu. (Wikipedia) Jego pasją i swoistą terapią było wędkarstwo, i niejednokrotnie wykorzystywał w swojej twórczości szczątki złowionych przez siebie ryb.

OPALKA 1965 /1 – ∞; Detal 993460–1017875 by Roman Opałka:

propaganda: in the series OPALKA 1965 /1 – ∞, the artist writes subsequent numbers on canvas. The series starts with white paint on black canvas, but with time, the background of paintings gets lighter and the paint used to write the numbers reaches grey. Opałka also recorded himself saying the numbers.

Imagine. You art at an art gallery, come up to the painting and at first see only grey. You go huh, but as you go nearer, the individual digits start to appear. And you read the description: 1 – ∞, detail 2450737-2473067, and you think, what the fuck, man. (the series consists of 233 paintings)

And then it makes you think about the passage of time and determination and dedication to craft and so on, and Opałka's artworks can generally cause many emotions and all of them are coloured by that initial reaction to the sheer scale of the undertaking, as they should be. It's also fun to see his artworks after you know the context behind them, because it's like greeting an old friend.