![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
thanekos posting in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png){kind=small}
scans_dailyThe shift in the derivation's title was part of the thought process behind the series: " We’ll often see Dorian crop up in other mediums — the immortal, beautiful young decadent with his picture hidden in the attic. But what of the man who made the painting? There was a man who made art which rendered its subject immortal. "
The Picture of Everything Else #1 led up to that man in Paris - friends Alphonse and Marcel, at a function they hadn't been invited to, heard about " the Englishman " who painted beautiful portraits and lived alone with them.
They fled the function after Alphonse's thievery from its host was caught out.
That night, Marcel was working alone on his art when someone he'd met at the party - a man who'd modeled for the Englishman - called at his and Alphonse's door.
That man, Louis, had come to see some of Marcel's work that he'd discussed in conversation.
Viewing it, he had honest praise.
Alphonse sidled up against the window.
Alphonse watched that Englishman.
Marcel saw the effect of the Englishman's act.
The aftermath of it terrified Marcel - he called for a gendarme, then fled out into the night.
He went looking for Alphonse, and found him outside the Englishman's house, shaken.
Marcel described what he'd seen, giving Alphonse one end of what the Englishman'd done.
The connection was in his mind - he led Marcel back into the Englishman's house, so that they could see the source of their horrors.
The Englishman stood over Marcel.
He brought his arm back, to swing.
Alphonse answered.
Marcel also felt what'd passed, bending in the doorway.
(Any differences between this Basil Hallward and the painter from Oscar Wilde's novel can probably be explained by " Hell. "
Pagecount's 8 and 6/10ths of 26 from last December's issue #1. Issue #2's solicited February.
Writing's Dan Watters, art and colors're Kishore Mohan, and letters're Aditya Bidikar.
Publisher's Vault, under their " Nightfall " horror imprint.)
The Picture of Everything Else #1 led up to that man in Paris - friends Alphonse and Marcel, at a function they hadn't been invited to, heard about " the Englishman " who painted beautiful portraits and lived alone with them.
They fled the function after Alphonse's thievery from its host was caught out.
That night, Marcel was working alone on his art when someone he'd met at the party - a man who'd modeled for the Englishman - called at his and Alphonse's door.
That man, Louis, had come to see some of Marcel's work that he'd discussed in conversation.
Viewing it, he had honest praise.
Alphonse sidled up against the window.
Alphonse watched that Englishman.
Marcel saw the effect of the Englishman's act.
The aftermath of it terrified Marcel - he called for a gendarme, then fled out into the night.
He went looking for Alphonse, and found him outside the Englishman's house, shaken.
Marcel described what he'd seen, giving Alphonse one end of what the Englishman'd done.
The connection was in his mind - he led Marcel back into the Englishman's house, so that they could see the source of their horrors.
The Englishman stood over Marcel.
He brought his arm back, to swing.
Alphonse answered.
Marcel also felt what'd passed, bending in the doorway.
(Any differences between this Basil Hallward and the painter from Oscar Wilde's novel can probably be explained by " Hell. "
Pagecount's 8 and 6/10ths of 26 from last December's issue #1. Issue #2's solicited February.
Writing's Dan Watters, art and colors're Kishore Mohan, and letters're Aditya Bidikar.
Publisher's Vault, under their " Nightfall " horror imprint.)
no subject
Date: 2021-01-24 12:52 am (UTC)no subject
Date: 2021-01-25 08:26 am (UTC)I’m a bit confused. Why’s Basil going around killing people?