While I’m on the subject of the TV show, here are some things to remember:
An adaptation will never be the same as its source. Things will be changed: taken away, added, altered. This will happen, because it’s a completely different medium and some things just won’t translate.
Appearances aren’t everything. Everyone will be disappointed with some aspect of the casting. They are not going to find someone who looks exactly like your headcanon. Give the actors a shot - they might surprise you.
Just because it isn’t exactly the same doesn’t mean it will be bad.
Speaking from experience, one of my favourite books is also one of my favourite TV shows: Jonathan Strange and Mr Norrell, which is a 1000 page novel and was made into a 7 part BBC drama. Obviously they had to change a lot of what I’ve mentioned above:
Scenes were moved around in order
Drawlight was cast completely differently to his descriptions in the book (just one example)
Scenes were added (I’m thinking of a lot of the Starecross scenes), a lot of scenes were removed (too many to count because y’know, 1000 page novel)
And IT WORKED. It’s a completely different beast from the book, but it is wonderful in its own right. The thing it does so well is keep to the tone and the atmosphere of the book, which I think is one of the most important things for TRC.
As far as I’m concerned, if this TRC show can do that then things will be fine.
The important thing is to keep an open mind. At this point (as far as I’m aware) we don’t even know when it’s going to be made. It might be years: these things can move slowly.
And so The Prophet concludes. What started as the ostensible re-boot of a retired and obscure superhero can take its place on the library shelves as one of the most extraordinarily inventive science-fiction comics in the English-language tradition, and hopefully as an enduring element of the canon that is being forged in this second Golden Age of the medium. It is unusual for such a singular vision to emerge from a collaborative process, but this volume is the work of two writers, Brandon Graham and Simon Roy, who are also among its four artists, along with Grim Wilkins and Giannis Milonogiannis. All its contributors have their feet firmly in the underground, and the story has the feel of a space-opera epic shot on hand-held Super 8, with all the colliding sensibilities that implies. Its most obvious antecedents are in the psychedelic bandes dessineés of the 1970s, notably Alejandro Jodorowsky and Jean Giraud’sThe Incal and Phillippe Druillet’sLoan Sloane series, but this is clearly a work that emerges from the burgeoning avant-garde of the contemporary American scene, and it’s good to see a publisher like Image standing behind it.
Earth War could be quite an opaque book, I imagine, to a reader who brings too many generic expectations to it: this is the kind of story that is usually straightforwardly told, particularly if its plot is relatively baroque. The plot of this book is extremely simple, and its telling is not exactly gnomic, but it is far from predictable – at times it feels capricious or whimsical, but for the most part it simply feels as though we are observing a future so alien that we are not qualified to ascribe cause and effect. Visually it is often confusing, but this is more a function of the bizarre biomorphology of its characters than of any particularly avant-garde or experimental approach to the art: this is cartooning, simple, iconically representative illustration, but it is the cartooning of bizarre and impossible forms.
Its potential opacity, its refusal to offer an easy interpretation to the casual reader, does not indicate a work which asks to be decoded however. It is not ‘difficult’ in that sense. Instead it offers other pleasures than those that are conventionally associated with space opera or with SF comics. Earth War demands that its reader set aside any desire for clarity or for specificity, and instead immerse themselves in the experience of looking at a sequence of images: its narrative is an affective one, a psychedelic tour through the fevered imaginations of its authors, and in this sense it is a pure comic, one which emphasises only those formal features that are the exclusive preserve of its medium. It is a place of visual immersion and of disorientating motility, in which visual aesthetics supplant plot and dialogue as the motive forces of the narrative. If you want to experience beauty through the medium of science-fiction, don’t look to the highly polished and technically audacious products of the mainstream, but here, to the fringes, where the strange is elevated to the status of the heroic.
So delicious and so simple. Two very important criteria for me when deciding what to cook. One, because, well, delicious food is important if I actually expect to eat anything (lol) and two, if it’s not simple I lose interest pretty quickly. I wouldn’t say I’m lazy but rather busy. I’m always running around doing several different things so instead of trying to find more time to cook (and making myself crazy) I find things to make that can fit into the time I already have available (which isn’t much lately). Feel me? Good.
Sweet Potato Hash Browns
1 large (or 2 medium) sweet potatoes, peeled and grated
¼ cup gluten free flour
2 tbsp. refined coconut oil (plus more for cooking)
½ tsp. salt
Wash and peel the sweet potatoes then shred them and using a colander, rinse the potato shreds until the water runs mostly clear. Squeeze the rinsed potatoes to remove excess water. I like to transfer them to paper towels to remove more water. Transfer potatoes to a medium sized bowl. Add flour, oil and salt and mix until incorporated.
Add 1-2 tablespoons of coconut oil to a skillet on medium heat. Measure ¼ cup sweet potato shreds into the pan and use a spatula to flatten them. Cook for about 3 minutes per side or until golden to medium brown and crispy. Transfer cooked hash browns to a plate lined with paper towels to soak up any excess oil.
The Asian golden cat is a
medium-sized wild cat, typically weighing about 25 – 35 lbs. Its average
length is about 4 feet including its tail. The Asian golden cat ranges
from the lowlands of Southeast Asia up into the Himalayas, sometimes up
to 3,000 m.
They are opportunistic predators, eating ground
birds, rodents, reptiles, and other small-to-medium prey.
The Asian golden cat is listed by the International Union for
Conservation of Nature and Natural Resources (IUCN) as Near Threatened.
Threats to the Asian golden cat include habitat loss due to
deforestation, indiscriminate snaring, and illegal trade in its pelt and