I posted this originally on Letterboxd, but I want to share with all my mutuals as well
Spoiler Alert!!!!!
I just went back from watching Nolan's Odyssey movie, and I have so many thoughts. Prepare yourselves, this will be a long review.
I will start by saying how I hate the culture war that this film caused. I think I hate both sides of the conversation. I hate the pathetic anti-SWJs and how they made a huge deal of Nolan casting a few non-white actors and a trans actor to play a cis role, as if POC and queer actors never had played roles in Greek mythology films before. But as a Greek mythology fan, I hate how my own camp reacted to this film, being rabid Homer purists and not even giving this film a chance.
It's Christopher Nolan's Odyssey. It's exactly what it says on the tin. He doesn't even try to be historically accurate. Who knew that brutalism would be an architecture style so popular in the Bronze Age Mediterranean? Odysseus travels in a viking ship for goodness sake. This is a guy who has no experience directing period fantasy pieces, so he designed ancient Greece as a generic "the past" with a few fancy costumes. I can't say I'm a fan of this aesthetic, but the film is so much more than that, and I feel like reducing the whole end product to a couple of weird directorial choices is shallow, intellectually dishonest and anti-art.
I can say it right. @the-blue-fairie, @thealmightyemprex, I'm speaking specifically to you because I know you read my reviews and you don't like Nolan's style, this film isn't for you. Everything that you dislike about Nolan's directorial style is present in this film. This doesn't make the film bad, though.
Everything is gray, dark, moody; the film takes itself as seriously as a shipwreck. It doesn't allow a single moment of levity. And it still embraces the fantasy elements.
Contrary to past adaptations, like the Hallmark miniseries or even the Tiktok concept album, it embraces the fantasy elements without embracing the wonder. The magic feels offputting, strange, like a disquieting apparition.
Polyphemus doesn't speak properly, just proffering a few otherworldly and inhuman ramblings after Odysseus and his crew blind him, asking for Poseidon to curse them.
The Lastrygonians aren't rock-throwing giants , but an army of ruthless giants in full metal armor who don't rest until they kill as many of Odysseus' crew as they could find.
Circe isn't a beautiful sorceress in a huge temple filled with nymphs, she's almost an old hag living in an old hut who has to manually twist the bodies of Odysseus' crew to turn them into pigs, in moments of visceral body horror. There's no Hermes here.
The ghosts of Odysseus' fallen men don't just haunt him, they try to physically attack him when they journey to Hades.
There are no Lotus Eaters. Calypso is drugging Odysseus with lotus flowers herself, making him forget almost everything and making him live in a mist of confusion for years. All that to make him forget the horrors he saw.
Telemachus and Penelope share a very tempestuous relationship for a son and mother, with Penelope bitter about being powerless as a woman, constantly arguing with her son, belittling him, while Telemachus is constantly trying to prove he is fully capable of leading Ithaca.
And more, there are no gods here. Only Athena appears, in brief visions Odysseus has, before it's revealed in the end that she's wearing the face of the young priestess that the Greek army killed when they profaned Athena's temple in Troy. It's left ambiguous if she's Athena herself or only a manifestation of Odysseus' guilt for the horrors he took part in. She has tears in her eyes when Odysseus remembers the priestess being killed and Athena's statue beheaded.
Everything is meant to be unpleasant, not fully into horror territory, but extremely upsetting, strange. Maybe other directors could have made it more striking. Nolan has a too down-to-earth style. He films fantasy like he films sci-fi, but the guy is effective at what he wants to portray.
He makes you feel like you are right there inside this world. No matter how anachronistic this Greek world is, it feels like it exists. You won't see any bad CGI or bad special effects. The combination of score, camera angles, and editing choices immerse you completely in this story, as if the adventures and horrors are happening all around you.
And all this lack of wonder has a point, because the film has a central theme: Hospitality and decay.
Hospitality in this world is not just courtesy, it's a sacred law that guides this civilization. You should accept and treat well everyone that reaches your residence, be it a noble or a beggar, because they may be a god in disguise. Yet, people are constantly exploiting or breaking the laws of hospitality, the sacred laws of Zeus: From Antinous and the other suitors abusing Penelope's hospitality for years, from Polyphemus eating Odysseus’ crew, from Circe turning them into pigs when they were almost starving, and lastly, when the Greeks offered the Trojan Horse as a gift of peace to Athena before slaughtering the whole city.
This single act of breaking the laws of hospitality is what dooms this entire world.
This film is set during the Collapse of the Age of Bronze, the period of dark ages between Mycenaean Greece and Classical Greece, a period in which the epic poems were meant as a reminder of all the glory lost in the process.
This is a world in decay, where everything is dying and collapsing.
At all times, there are constantly mentions of the Sea People and how they may attack and destroy their kingdoms at any time. The Sea People are an unknown people who are theorized by some historians to be one of the causes for the Bronze Age collapse. It’s one of the threats that makes the suitors’ situation even more urgent. Ithaca needs someone who can protect it from the Sea People.
And then, almost by the end of the film, it’s revealed: The Sea People are the Greeks who sacked Troy. The memory of what they have done, of how they broke the laws of Zeus spread through the Mediterranean, and that has caused a cascade effect of every rule that governs civilization starting to collapse.
This is the main reason for why Odysseus can’t go back home, he can’t live with what he has done. The whole journey is him dealing with his constant guilt and trying to make things better, but only making them worse as a result. He knows what he has done has consequences, and he’s watching as it spreads to the whole world.
In the end, Odysseus and Penelope exile themselves to a journey into the west, while Telemachus rules Ithaca as king, but even though our main leads are happy, it’s evidently clear that as a whole, this world, all kingdoms visited are doomed. Everything will collapse and the songs about their feats and mistakes will be the only things remembered.
The Trojan War is depicted as both this world's Götterdämmerung, the Twilight of the Gods, and its Original Sin, the primordial crime from which every subsequent horror symbolically descends.
This film has a happy ending, but it doesn’t end on a hopeful note. The final shot of the film is the Trojan Horse ablaze, symbolizing the violation of the laws of hospitality and how that symbolizes the decay that will destroy everything.
We are living in times of economic recessions, environmental catastrophes, and liberal democracies in decay. Despite all the dubious choices Nolan made, the text is incredibly rich. Maybe this is the story for our times.
@themousefromfantasyland it's interesting that you say this is not for me because, on the one hand, I can absolutely see that being true. On the other hand, from your review, I am most intrigued by the "almost-horror" approach. Although I do not know if I trust Nolan to stick the landing with that, no matter the pig-transforming body horror. ...Like, I can love somber and vaguely horrifying, I just... don't think I'll like it when Nolan does it.
I'll be honest. I don't think you and @thealmightyemprex will enjoy this, but I think you'll enjoy certain scenes: particularly on Polyphemus lair and on Circe's island. These are the scenes that feel most like outright horror.
I wonder if you'll like Zendaya's Athena. Her scenes are brief, but poignant. Also, Elliot Page plays Sinon, and I do enjoy his character and his relationship with Odysseus even if he's, again, a minor but important character.
Also, I think this is one of the only adaptations of the Odyssey that includes Argos and his death.
Yep, they included this scene and it is a heartbreaking as you possibly could imagine. Draw me to tears almost immediately.
I posted this originally on Letterboxd, but I want to share with all my mutuals as well
Spoiler Alert!!!!!
I just went back from watching Nolan's Odyssey movie, and I have so many thoughts. Prepare yourselves, this will be a long review.
I will start by saying how I hate the culture war that this film caused. I think I hate both sides of the conversation. I hate the pathetic anti-SWJs and how they made a huge deal of Nolan casting a few non-white actors and a trans actor to play a cis role, as if POC and queer actors never had played roles in Greek mythology films before. But as a Greek mythology fan, I hate how my own camp reacted to this film, being rabid Homer purists and not even giving this film a chance.
It's Christopher Nolan's Odyssey. It's exactly what it says on the tin. He doesn't even try to be historically accurate. Who knew that brutalism would be an architecture style so popular in the Bronze Age Mediterranean? Odysseus travels in a viking ship for goodness sake. This is a guy who has no experience directing period fantasy pieces, so he designed ancient Greece as a generic "the past" with a few fancy costumes. I can't say I'm a fan of this aesthetic, but the film is so much more than that, and I feel like reducing the whole end product to a couple of weird directorial choices is shallow, intellectually dishonest and anti-art.
I can say it right. @the-blue-fairie, @thealmightyemprex, I'm speaking specifically to you because I know you read my reviews and you don't like Nolan's style, this film isn't for you. Everything that you dislike about Nolan's directorial style is present in this film. This doesn't make the film bad, though.
Everything is gray, dark, moody; the film takes itself as seriously as a shipwreck. It doesn't allow a single moment of levity. And it still embraces the fantasy elements.
Contrary to past adaptations, like the Hallmark miniseries or even the Tiktok concept album, it embraces the fantasy elements without embracing the wonder. The magic feels offputting, strange, like a disquieting apparition.
Polyphemus doesn't speak properly, just proffering a few otherworldly and inhuman ramblings after Odysseus and his crew blind him, asking for Poseidon to curse them.
The Lastrygonians aren't rock-throwing giants , but an army of ruthless giants in full metal armor who don't rest until they kill as many of Odysseus' crew as they could find.
Circe isn't a beautiful sorceress in a huge temple filled with nymphs, she's almost an old hag living in an old hut who has to manually twist the bodies of Odysseus' crew to turn them into pigs, in moments of visceral body horror. There's no Hermes here.
The ghosts of Odysseus' fallen men don't just haunt him, they try to physically attack him when they journey to Hades.
There are no Lotus Eaters. Calypso is drugging Odysseus with lotus flowers herself, making him forget almost everything and making him live in a mist of confusion for years. All that to make him forget the horrors he saw.
Telemachus and Penelope share a very tempestuous relationship for a son and mother, with Penelope bitter about being powerless as a woman, constantly arguing with her son, belittling him, while Telemachus is constantly trying to prove he is fully capable of leading Ithaca.
And more, there are no gods here. Only Athena appears, in brief visions Odysseus has, before it's revealed in the end that she's wearing the face of the young priestess that the Greek army killed when they profaned Athena's temple in Troy. It's left ambiguous if she's Athena herself or only a manifestation of Odysseus' guilt for the horrors he took part in. She has tears in her eyes when Odysseus remembers the priestess being killed and Athena's statue beheaded.
Everything is meant to be unpleasant, not fully into horror territory, but extremely upsetting, strange. Maybe other directors could have made it more striking. Nolan has a too down-to-earth style. He films fantasy like he films sci-fi, but the guy is effective at what he wants to portray.
He makes you feel like you are right there inside this world. No matter how anachronistic this Greek world is, it feels like it exists. You won't see any bad CGI or bad special effects. The combination of score, camera angles, and editing choices immerse you completely in this story, as if the adventures and horrors are happening all around you.
And all this lack of wonder has a point, because the film has a central theme: Hospitality and decay.
Hospitality in this world is not just courtesy, it's a sacred law that guides this civilization. You should accept and treat well everyone that reaches your residence, be it a noble or a beggar, because they may be a god in disguise. Yet, people are constantly exploiting or breaking the laws of hospitality, the sacred laws of Zeus: From Antinous and the other suitors abusing Penelope's hospitality for years, from Polyphemus eating Odysseus’ crew, from Circe turning them into pigs when they were almost starving, and lastly, when the Greeks offered the Trojan Horse as a gift of peace to Athena before slaughtering the whole city.
This single act of breaking the laws of hospitality is what dooms this entire world.
This film is set during the Collapse of the Age of Bronze, the period of dark ages between Mycenaean Greece and Classical Greece, a period in which the epic poems were meant as a reminder of all the glory lost in the process.
This is a world in decay, where everything is dying and collapsing.
At all times, there are constantly mentions of the Sea People and how they may attack and destroy their kingdoms at any time. The Sea People are an unknown people who are theorized by some historians to be one of the causes for the Bronze Age collapse. It’s one of the threats that makes the suitors’ situation even more urgent. Ithaca needs someone who can protect it from the Sea People.
And then, almost by the end of the film, it’s revealed: The Sea People are the Greeks who sacked Troy. The memory of what they have done, of how they broke the laws of Zeus spread through the Mediterranean, and that has caused a cascade effect of every rule that governs civilization starting to collapse.
This is the main reason for why Odysseus can’t go back home, he can’t live with what he has done. The whole journey is him dealing with his constant guilt and trying to make things better, but only making them worse as a result. He knows what he has done has consequences, and he’s watching as it spreads to the whole world.
In the end, Odysseus and Penelope exile themselves to a journey into the west, while Telemachus rules Ithaca as king, but even though our main leads are happy, it’s evidently clear that as a whole, this world, all kingdoms visited are doomed. Everything will collapse and the songs about their feats and mistakes will be the only things remembered.
The Trojan War is depicted as both this world's Götterdämmerung, the Twilight of the Gods, and its Original Sin, the primordial crime from which every subsequent horror symbolically descends.
This film has a happy ending, but it doesn’t end on a hopeful note. The final shot of the film is the Trojan Horse ablaze, symbolizing the violation of the laws of hospitality and how that symbolizes the decay that will destroy everything.
We are living in times of economic recessions, environmental catastrophes, and liberal democracies in decay. Despite all the dubious choices Nolan made, the text is incredibly rich. Maybe this is the story for our times.
Since we had to sacrifice Ever After High to the fairytale retelling gods can we keep making new Descendants movies until it reaches Once Upon a Time levels of unhinged?
Without fail, every time a woman is talking about how she does not want to have children and never wants to be pregnant and how medical professionals, romantic interests and family members keep trying to bulldoze her decision and keep expecting her to change her mind because motherhood is something that is expected of all women and it is abhorrent to think a woman could not desire it, a random mother spawns in the comments to be like “Well, actually, you never know! I didn’t want children and then I got pregnant and I realized I love being a mama and I have five little babies now! Could happen to you! 🥰”
Sister, keep that to yourself or make your own goddamn post, you are ignoring that woman’s central concern and belittling her, you don’t even think you’re doing it. Formerly childfree women who ended up having children and loving it are like detransitioners in the sense that there is nothing inherently wrong with changing your mind about having children or realizing you were mistaken about your gender identity but immediately weaponizing your indecision to tell people that the barriers to healthcare and the violations of their bodily autonomy and the way society ignores that person’s wishes is actually okay because you were wrong. Some people do know themselves.
I decided to scan my old Chaudron Magique belongings because time is not being kind on them, so at least it will be preserved somewhere...
But for the many of you who wonder what I am talking about, "Chaudron Magique" (Magic Cauldron) was a short-lived French magazine (from 2007 to 2011) entirely dedicated to fantasy in all of its shapes and forms (including supernatural adventure, mythology, science-fantasy and more). While officially "from 8 to 1000 years", it was a magazine aimed at children and teenagers. Each issue came with little goodies and additional material (at least until 2011, when the magazine due to a lack of funds stopped making them... which partially accelerated the downfall of the brand).
For example, for the year 2010 they released this lovely, humoristic "fantasy-calendar", disponible in a poster format:
Scans by yours truly, don't mind the dates I circled at the time.
This calendar presents in a mix the days of "magical events to celebrate" (Epiphany, Easter, Walpurgis, Halloween, Samhain...), the anniversaries of "classical authors" (Maupassant, Lovecraft, Mary Shelley, Collodi, C.S. Lewis, Dickens, Jules Verne or L. Frank Baum...), and those of "modern authors" (Robin Hobb, Douglas Adams, Tad Williams, Mercedes Lackey, Tanith Lee, Michael Moorcock and more) ; all sprinkled with mock-"folk sayings" parodying the typical "weather sayings" of almanachs.
Each month is renamed after a pun associating it with a fantasy creature. January is the Giant month, February the Elf month, Mars the wizard's, April the dwarf's, May a gorgon month, June a demon month, July is for the zombie, August for the hobbit ; Septembre is for the Wraith, October for the Orc, November for the Gnome and finally December is the dragon's month. And each season is also given an imaginary figure to be associated with (all the credits for every artist's work is to be found on the poster itself).
Winter's is Ymir. "Born at the dawn of time, when the cold breath of Niflheim the world of darkness met the heat of Müspelheim the world of fire. He is the father of frost-giants in Norse mythology."
Spring's is the Ent. "At the end of winter sap spreads again in the veins of the Ents, who can move once more their branches and roots to go wake up the inhabitants of their forest-realm."
Summer's is Surtr. "At the end of times, according to Norse mythology, this prince of the ember-giants shall leave his burning realm of Müspelheim to set ablaze the entire universe with its smoldering sword."
And Autumn's is the "Draco Sylvestris". "Half-tree, half-dragon, it gets numb during autumn and is used as a refuge by various small creatures."
Sometimes, fanfiction is carefully plotted out stories, with plot points and call backs and themes that all tie it up in a meaningful and exciting way.
And sometimes fanfiction is, ‘Watch me do a fucking KICK FLIP off this cool sentence!! Also here's some sex'
it really pisses me off when adults sit there and drill it into kids’ heads that their youth is fleeting and tell them things like “enjoy your childhood while it lasts because this is the best it’s gonna get”. why are you telling children that adulthood is the worst thing they can experience? seriously what the fuck is wrong with you, why are you trying to make them feel like growing up is a fate worse than death? trying to convince them their life is over before it even begins? i’m tired of that shit. because tell my why my 12 year old cousin told me when she turns 30 she’ll be so depressed she’s just gonna cry all the time. what the fuck. kids don’t need to hear that their already stressful and overwhelming lives are never going to get better, that the abuse and lack of autonomy they face is apparently the highlight of their lives. they need to hear about adults who are happy to be alive and happy to have made it to their age. they need to know that growing up rules, it’s a gift and life does not have to suck for them, that they have a future that’s worth sticking around for. this rhetoric is so damaging mentally and i’m about to start hitting the adults who parrot it. i’m sorry you hate your life but you don’t get to dump your issues on these kids. don’t piss me off and leave these babies alone!
I seriously hate Girlboss versions of Cinderella. It was fun in 2004 with Hilary Duff in her movie version but now it is stale and trite. It has been done to death. It is a dead horse.
My complicated feelings about "girlboss Cinderellas" would take a long time to unpack.
But for now, I'll say this: when I see a new version of Cinderella, all I want is for Cinderella's portrayal to be different from any other Cinderella who came before her. She shouldn't always be gentle and defined by patience and kindness, but neither should she always be a feisty action girl. What she should always be is a different kind of heroine, to help us see the story in a fresh light.
This story has been told, and told extremely well, again and again and again: each new version should have something new to say, or what's the point?
I'll add my two cents. I do believe that kindness and courage, as the Disney live action puts it, should be the defining traits of any Cinderella character. But having said that, we should also remember courage and kindness have very different ways of showing and looking from person to person. Both can coexist with being more rebellious ("Three wishes for Cinderella") direct in communication (the Marcella Plunkett version), feeling angry (Jennifer Beals), standing up to royalty (Drew Barrymore), being sarcastic (Disney's 1950 original) or raising her voice (Aylin Tezel's Aschenputtel).
These are all traits that are very different from a "girl boss" concept (which usually relies on pride, capitalism and relating to power without actually trying to dismantle structures). Characters like Miranda Priestly, Glinda and actually many iterations of Stepmothers and Stepsisters fall into this more frequently. The semantic implication of the "boss" in "girl boss" is that there's a hierarchy and structure of power. There's a boss, because there's workers (that's why this tends to fit the step family, who under some surface level interpretations you could read as being "empowered", when in truth they tend to have a fixation with power one way or another).
There's much more to unpack here, but I do feel there's an almost inherent class commentary in the story of Cinderella that is extremely difficult to reconcile with the promotion of a "girl boss" identity.
I seriously hate Girlboss versions of Cinderella. It was fun in 2004 with Hilary Duff in her movie version but now it is stale and trite. It has been done to death. It is a dead horse.
My complicated feelings about "girlboss Cinderellas" would take a long time to unpack.
But for now, I'll say this: when I see a new version of Cinderella, all I want is for Cinderella's portrayal to be different from any other Cinderella who came before her. She shouldn't always be gentle and defined by patience and kindness, but neither should she always be a feisty action girl. What she should always be is a different kind of heroine, to help us see the story in a fresh light.
This story has been told, and told extremely well, again and again and again: each new version should have something new to say, or what's the point?
Okay, but you see how the term Girlboss is becoming increasingly villainized. What originally was meant to be a term to describe shallow white feminism that pushes for women leadership in the corporate world became a term for female empowerment stories, and for some reason, female empowerment stories are now considered boring, cliche, and trite.
Mind you, men have a hundred years of power fantasy fiction, but women's power fiction is too cringy and boring, and not allowed to exist anymore.
This wouldn't bother me that much if we didn't have a current cultural push to lock women back in their gender roles positions. We see young women and even some young girls being daily indoctrinated that following gender roles and being subservient to men is desirable.
I can't help but feel that they are weaponizing fairy tales and old movies to push this idea that women should be always passive, docile, and content in domestic roles.
I'm not demonizing fairy tales and old movies. I'm a massive Disney Adult and fan of fairy tales. Cinderella is my favorite Disney Princesses and fairy tale protagonist ever, and I will punch you in the face if you tell me that being feminine is weakness.
But I'm highly suspicious of this new wave that says that every "girl power" story is inherently bad and ridiculous.
There's a conservative push to erase girl power stories, and sadly, I feel like too many gullible in fandom spaces are eating that up.
I found it back! That one web-story I spoke about before, where "Hansel and Gretel" was fused with "Little-Brother, Little-Sister"? It is part of the story written by lotdanccatte "The Roebuck-Prince, the Tower-Maiden and Iron Henry". It is part of a bigger (if not massive) multi-crossover of all the Grimms fairytales mixed into one epic narrative - in fact it is the first part of it, followed by "The Long Sleep" and "Iron Henry's Extraneous Tales".
All three of them form the series known as "Iron Henry and the Devil in Conflict" (aka Das Märchen der Märchen). It was @grimoireoffolkloreandfairytales who made me aware of the existence of this series, and you can see all the scholarly passion for fairytales poured in there through the "notes" section.
In fact, after this one epic of German fairytales, the author went on and did another "massive fairytale crossover" for... French fairytales, specifically those of Charles Perrault and madame d'Aulnoy, titled "The Courts of Glass and Briar", trying its best to imitate the style in which the stories were published in English... And this dedication to pastiching fairytale styles while studying their cultural areas led to a THIRD series: Cinche Cunti, overo Lo juorno de li juorne (Five Tales, or the Day of Days), this time based onto the Pentamerone.
And while it wasn't there last time I checked, it seems now there's a fourth "cultural entry" with Fairytales of the Gilded City - a fantasy version of the Gilded Age of New-York, told under the angle of Dutch fairytales?
I decided to scan my old Chaudron Magique belongings because time is not being kind on them, so at least it will be preserved somewhere...
But for the many of you who wonder what I am talking about, "Chaudron Magique" (Magic Cauldron) was a short-lived French magazine (from 2007 to 2011) entirely dedicated to fantasy in all of its shapes and forms (including supernatural adventure, mythology, science-fantasy and more). While officially "from 8 to 1000 years", it was a magazine aimed at children and teenagers. Each issue came with little goodies and additional material (at least until 2011, when the magazine due to a lack of funds stopped making them... which partially accelerated the downfall of the brand).
For example, for the year 2010 they released this lovely, humoristic "fantasy-calendar", disponible in a poster format:
Scans by yours truly, don't mind the dates I circled at the time.
This calendar presents in a mix the days of "magical events to celebrate" (Epiphany, Easter, Walpurgis, Halloween, Samhain...), the anniversaries of "classical authors" (Maupassant, Lovecraft, Mary Shelley, Collodi, C.S. Lewis, Dickens, Jules Verne or L. Frank Baum...), and those of "modern authors" (Robin Hobb, Douglas Adams, Tad Williams, Mercedes Lackey, Tanith Lee, Michael Moorcock and more) ; all sprinkled with mock-"folk sayings" parodying the typical "weather sayings" of almanachs.
Each month is renamed after a pun associating it with a fantasy creature. January is the Giant month, February the Elf month, Mars the wizard's, April the dwarf's, May a gorgon month, June a demon month, July is for the zombie, August for the hobbit ; Septembre is for the Wraith, October for the Orc, November for the Gnome and finally December is the dragon's month. And each season is also given an imaginary figure to be associated with (all the credits for every artist's work is to be found on the poster itself).
Winter's is Ymir. "Born at the dawn of time, when the cold breath of Niflheim the world of darkness met the heat of Müspelheim the world of fire. He is the father of frost-giants in Norse mythology."
Spring's is the Ent. "At the end of winter sap spreads again in the veins of the Ents, who can move once more their branches and roots to go wake up the inhabitants of their forest-realm."
Summer's is Surtr. "At the end of times, according to Norse mythology, this prince of the ember-giants shall leave his burning realm of Müspelheim to set ablaze the entire universe with its smoldering sword."
And Autumn's is the "Draco Sylvestris". "Half-tree, half-dragon, it gets numb during autumn and is used as a refuge by various small creatures."
stormborns
amandla
2087
vaporwave
prguitarman
