This is a completely and wholly honest representation of Mr Wines.
This entire sitting left me wondering how uncomfortable it would be to wear clothing over fur. I had also thought that the corsetry of many of the ladies in Fallen London was terrifying; I can’t imagine what possessed Mr Wines to do this to its wings.
It was willing to part with some excellent vintages while posing. For a price.
I had considered whether or not I would approach Mr Cups for a sitting. I was surprised that it approached me for an alarmingly cordial one in its spire, as I’d never expected any sort of friendliness between myself and this particular Master.
It was a very good subject, and was willing to show off its wings for my sake. Unfortunately, the mirrors of the Neath appear to have done something strange to my candlelight. I swear this is reasonably close to what I saw.
(Check the full resolution - especially on the facial close-up!)
While Elvis Presley was rock’s first pop star and teenage heartthrob, Mr. Berry was its master theorist and conceptual genius, the songwriter who understood what the kids wanted before they did themselves. With songs like “Johnny B. Goode” and “Roll Over Beethoven,” he gave his listeners more than they knew they were getting from jukebox entertainment.
His guitar lines wired the lean twang of country and the bite of the blues into phrases with both a streamlined trajectory and a long memory. And tucked into the lighthearted, telegraphic narratives that he sang with such clear enunciation was a sly defiance, upending convention to claim the pleasures of the moment.
In “Sweet Little Sixteen,” “You Can’t Catch Me” and other songs, Mr. Berry invented rock as a music of teenage wishes fulfilled and good times (even with cops in pursuit). In “Promised Land,” “Too Much Monkey Business” and “Brown Eyed Handsome Man,” he celebrated and satirized America’s opportunities and class tensions. His rock ’n’ roll was a music of joyful lusts, laughed-off tensions and gleefully shattered icons. [Read More]
So Marco is still canonically known as Princess Marco by some of the villains (namely Ms Heinous and crew) and in “Mr Candle Cares” expressed their wish to be Queen.
We later have the episode “Friend-enemies”, which as well as seeming hella like a date, has the poster of Marco being held by Tom while Tom holds the Princess Marco dress over them. A dress we also now know Marco is still in possession of.
And then even Oskar and Star have noticed the closeness of Marco and Tom’s relationship as referenced in “Star and Marco’s Guide to Mastering Every Dimension”.
I really wonder if all this is alluding to Marco and Tom eventually marrying (after Marco has come out as trans) and Marco becoming the Queen of Hell.
Sorry, not the longest theory but it is a theory. Also I am aware there are many a fan fiction based on this scenario taking place.
I see that post going around quoting Forge’s Emo Lines and comparing it to something ridiculous and punny going “these were in the same chapter”, but keep in mind that these two images are separated by all of two panels