ok ,, this is prolly dumb but mh isn't… real right??? it's all just made up to seem real if that makes sense??
yea!! that’s what ARGs are - augmented reality games
they’re specifically meant to make it seem real, that’s why the character jay (played by creator troy wagner) had a twitter, and there’s multiple channels (totheark (where Spooky heavily coded videos are responses to jays entries, owned by one or multiple of the characters) and Marble Hornets (where the entries r uploaded)
there’s a few that go even deeper, like everymanHYBRID, they had multiple tumblrs, youtube channels, twitters, all held by different characters. they even had an event where you could sign up through email to participate, they left coordinates where viewers could find things, etc etc heck emh’s plot to start out with was that they were trying to make an ARG and then shit went south for Real (but not actually ;0)
it’s meant to be very interactive, the creators Want the viewers to see it as real, that’s their main goal (+ it makes it. very spooky because it seems so real, filmed on handheld cameras n stuff)
A/n- I worked really hard on this, so any reblogs/likes are really appreciated!
Title: Temptation. Pairing: Kurt Wagner x Reader. Words: 1803. Rating: M(Mild Smut).
The passed few minutes seemed like a giant blur for you. If asked when you tore off your boyfriend’s bright, orange, Thriller inspired jacket, you couldn’t specify, but you could tell them that it was dangling on the lamp, perched on the side table beside his bed. You couldn’t even remember what spurred this sudden make-out session in his bed either. You could have been arguing over something pitiful, something childish, or you could have just been bored.
L-R: Josef Wagner, Wilhelm Schepmann, unknown, unknown, Hitler, NSKK Chief Adolf Hühnlein (just visible behind Hitler’s neck), and SA Chief Viktor Lutze, Dortmund, 1936. Hühnlein died in 1942, Wagner was expelled from the NSDAP on 12.10.1942 and died in mysterious circumstances in 1945. Lutze died in 1943 and was succeeded as Stabschef der SA by Schepmann, who survived the war
Do you think ever just? cries? when he thinks about warrens abs? Do you think he wants to lick them? Do you think he wishes Warren would wash his clothes on his abs? Do you think he kind of wants Warren to kill him by scraping his head against his abs like a cheese grater until there's nothing left? Because I do...
‘UNDERGROUND’ USES COSTUMING TO EXPLORE RESISTANCE TO SLAVERY
Fashion was one of the few arenas in which slaves could
possibly exert a modicum of control; as such clothing could serve as a vehicle of
resistance. Yet, what ways could someone use costuming to retell the story of
slaves who resisted? Karyn Wagner, costume designer for the new TV series Underground, faced this very problem: reconstructing
the experience of enslaved men and women who resisted their condition as
bondsmen by escaping on the Underground Railroad.
Wagner had an almost genetic disposition to working in
the film industry. Her grandfather was a cinematographer — best known for his
work on the Hitchcock classic Rebecca — and
her grandmother was an actress. Wagner’s father worked for Paramount as a sound
mixe r. So, Wagner, a native Angelino, spent her childhood playing in the back
lots of Hollywood.
Wagner thinks of herself as a painter, plying her craft the same
way an artist paints flourishes on a canvas. She studied art history and
painting in college. After graduating, she took some time off and considered
going into professional art or academia. After a stint in Munich, she returned
to Los Angeles, considered following in her grandfather’s cinematographic
footsteps, and worked as a camera assistant. “I was the most stylist camera
assistant on set,” says Wagner. She was quickly lured into the world of costume
design and has not left since.
Wagner’s résumé boasts a number of blockbuster films, including The Green Mile, The Notebook, and The Majestic. Her first big break was Eve’s Bayou,
a coming-of-age drama of young girl from a prominent Creole family in
1960s southern Louisiana. Coincidentally, Wagner worked with the
10-year-old Jurnee Smollett-Bell on Eve’s Bayou and again on Underground almost two decades later.
There were no major white characters in Eve’s Bayou. Wagner’s task was to use costuming to tell the story of a family in a town “free of black subjugation.” She, however, has a very different task for Underground, though both are set in the South and were filmed in Louisiana. Underground tells the story of a group of slaves who escape from Macon plantation in Georgia and undertake a 600-mile journey to freedom. Along the way, they have to avoid ruthless slave catchers while finding a way to connect with the sympathetic whites and free blacks in the Underground Railroad who can help shepherd them to the North.
Wagner explains that the show’s costuming revolves around four palettes. The slave catchers are outfitted in muted greys, browns, and tans to reflect the camouflaging needed in their vocation. The palette of the northern abolitionist consists of somber, more sophisticated monochromatic hues.
The field slaves’ palette has some neutral tones, but there are also greens and blues to evoke their natural environs. To create the wear-and-tear look of the field slaves’ costumes, Wagner had a special person on her team whose sole job was distressing. Distressing is a process that Wagner has perfected over the years as a costume designer. It takes a lot of work to “make fabric give up,” as Wagner puts it, and it involves repeated washing, bleaching, staining, and sanding the most used parts of clothing.
The domestic slaves’ palette matches the interior of the big
house. “It’s not always about being 100% historically accurate. As a costume
designer, there are times that I take licenses,” says Wagner. Wagner worked
with the set designer and had the domestic slaves’ liveries made from the same silk
as the big house’s wallpaper. The idea was that Suzanna, the mistress of the Macon
Plantation, would want the domestic slaves to blend into the house’s decor as an
arrogant display of her power and wealth. “In my research for the show, I never
encountered anyone doing this — though it is certainly plausible. It was an intervention
on my part,” says Wagner.
In preparation for the show, Wagner combed through daguerreotypes
and published collections of archival photos. She learned that there was no
maternity clothing in the nineteenth century — an important detail given that
Macon plantation mistress Suzanna is pregnant
this season. Though there were maternity bodices, seamstresses
would simply let dresses out for pregnant women.
She also found that enslaved
overseers were often gifted dressier garb to differentiate them from field
slaves. Cato — the Janus-faced driver and friend to the master — wears a bowler hat and
dresses in what appears to be the master’s hand-me-downs. Yet, his vest is
purposefully too short because the master’s castoffs were not tailored to his
Clothing was embedded in the system of rewards
and punishments designed to make the plantations and, indeed, the whole
institution of slavery run smoothly.
Ultimately, it is Wagner’s job to recreate the experience of enslaved men and women who escaped on the Underground Railroad using costuming. Wagner, a self-professed history buff, remind us that fashion is history in fabric. The same way historians weave primary documents and secondary literature into published monographs, costume designers for period dramas like Underground use fashion to bring the stories of historical actors to life.
Germany is sometimes known as “the land of poets and thinkers” – or “Das Land der Dichter und Denker”; Bach, Beethoven and Goethe were all German, alongside composers Händel, Schumann, Mendelssohn, Brahms, Wagner and R. Strauss. Some of the world’s greatest German philosophers include Kant, Hegel, Schopenhauer, Nietzsche, and Heidegger.