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Cruxton Abbey

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Tintin at Cruxton:
This is a bit of a departure from the normal Cruxton Abbey artwork, and probably does nothing to add to the story, but it's a bit of revisionist nostalgia anyway. There have been a number of uses of Tintin in a number of art styles, including some erotic stuff, as well as some amusing reworked covers. Might as well do a crux version. I wonder if Herge would be happy with it.

Fortunately, Thompson and Thomson (or Dupont et Dupond in the original French) are on hand to sort things out.
Fortunately the detectives were there and the guilty party could suffer for her theft! Of course even as she hanged nailed to the cross she swore she was innocent!
barb crux 46.jpg
Fortunately, the Tree beverage tent was nearby so people could ignore her pleadings and enjoy her just punishment!
barb crux 26.jpg
 
Tintin at Cruxton:
This is a bit of a departure from the normal Cruxton Abbey artwork, and probably does nothing to add to the story, but it's a bit of revisionist nostalgia anyway. There have been a number of uses of Tintin in a number of art styles, including some erotic stuff, as well as some amusing reworked covers. Might as well do a crux version. I wonder if Herge would be happy with it.

Fortunately, Thompson and Thomson (or Dupont et Dupond in the original French) are on hand to sort things out.

Blistering barnacles! I want to see the whole book! Please say it exists outside your imagination, maybe if we all wish hard enough it will come into being?
haddock.jpg
 
Please say it exists outside your imagination, maybe if we all wish hard enough it will come into being?
Well, it took me about 5 1/2 hours of work to put it all together. A normal Tintin 'bande' is 62 pages with approximately 15 image frames per page. I have no doubt that the story of how two young chambermaids survive in servitude at Cruxton Abbey, under the strictures imposed by the eccentric and unpredictable Lord Wragg, leading up to the discovery of two crucifixions on the Cruxton lawn, potentially to cover-up what they discovered about the nefarious plots of Rastapopoulos, who may have kidnapped Barb and Eulalia before they could warn Tintin that he was smuggling drugs to Syldavia via Lord Wragg's dodgy Bordurian chuaffeur, and this could cause a scandal big enough to end the career of Bianca Castafiore (the Milanese nightingale) who was supposed to sing the Jewel Song from Faust at the upcoming Cruxton Arts Festival. Easily the most convoluted Tintin adventure yet, but it's a lot of drawing, so you know, not likely to happen any time soon. ;) :D
 
"Hum, your crime was certainly great to deserve to be crucified to my Premium French Crucifixion Wood, Barb ! " says Messa tasting a good glass of Tree beverage ...
The French have an odd way of expressing compassion … a few words of sympathy would have been appreciated!
 
Fortunately the detectives were there and the guilty party could suffer for her theft! Of course even as she hanged nailed to the cross she swore she was innocent!
barb crux 46.jpg
But…I was innocent! It was all @Eulalia ’s doing!!!
 
The French have an odd way of expressing compassion … a few words of sympathy would have been appreciated!

Well if a woman drinks Riesling, what sympathy can she expect from a pair of Angevines?
 
Tintin at Cruxton:
This is a bit of a departure from the normal Cruxton Abbey artwork, and probably does nothing to add to the story, but it's a bit of revisionist nostalgia anyway. There have been a number of uses of Tintin in a number of art styles, including some erotic stuff, as well as some amusing reworked covers. Might as well do a crux version. I wonder if Herge would be happy with it.

Fortunately, Thompson and Thomson (or Dupont et Dupond in the original French) are on hand to sort things out.
This is a highly original interpretation of Cruxton, in which all the figures are derived from two-dimensional sources (i.e. drawn/coloured artwork) and the composition is set against the familiar background of Cruxton Abbey. The latter has probably required more work than the figures, in translating from a photograph to a flattened, two-dimensional form with increased colour saturation, consistent with the characters by Herge and others.

A posterising filter produces the inked outlines, but further treatments have been undertaken, using the artistic filters in Photoshop. The result is a cohesive blend of components from different sources, and Herge's figures look quite at home in their characteristic states of confusion. Nice work, Jolly. :)
 
Herge's figures look quite at home in their characteristic states of confusion. Nice work, Jolly.
Thanks, Bob. Very kind words. I'll just note that I wasn't ultimately happy with some of the perspective placing of the figures, so I did a bit of a correction. I think it's better now. Nobody looks oversized. Anyway, that's now in the original post. These things are tricky at times. For anyone who downloaded the first version, you might want the new one - it's bigger and better. The old one no longer exists on my machine or anywhere really, so if you have it, it's now rare. :D
 
Tintin at Cruxton:
This is a bit of a departure from the normal Cruxton Abbey artwork, and probably does nothing to add to the story, but it's a bit of revisionist nostalgia anyway. There have been a number of uses of Tintin in a number of art styles, including some erotic stuff, as well as some amusing reworked covers. Might as well do a crux version. I wonder if Herge would be happy with it.

Fortunately, Thompson and Thomson (or Dupont et Dupond in the original French) are on hand to sort things out.
Excellent (although the girls' skins show too many details compared to the standard uniform colour treatment of surfaces by Hergé).
I wonder what the Captain (who seems to be being caught red-handed) was about to do ...
 
Lady Wragg's Soiree
LadyWragg-Library1a.jpg

Lady Elspeth Wragg, was not always the forceful, middle-aged matron of Cruxton Abbey. Indeed, she started out as a headstrong, pretty young woman, who attended a week long house party thrown by Lord Desmond Wragg, Earl of Cruxton. She had come, with her parents, who had set themselves the goal of marrying her off to the new vicar, a certain Mr. Jollyrei. She had dutifully met him, but found him to be disconcertingly of indeterminate age, and a tendency to disappear on short notice to do what he called "his duty", after which he would return smelling slightly of curry. She did, however, also meet Lord Desmond's heir, the young Lord Reginald Wragg. He seemed a cheerful sort, and more importantly, he was clearly interested in many of the things that interested the young Lady Elspeth. He liked music. He liked wine. He appeared to like speaking to her as if she had some braincells of her own. That was all well and good, but Lady Elspeth had, upon reaching the age of 20 without so much as a serious suitor, found that she also had certain urges and interests, and decided she needed to find out exactly what those were, and how to appropriately deal with them. In short, she wanted a sexual awakening, and that right soon. The tendency of the serving staff at Cruxton Abbey to go about their duties wearing nothing more than an apron did nothing to disuade her, and indeed she had seen Lord Reginald gazing at the nude and almost nude chambermaids in a way that suggested he needed a new focus for his attention. Taking two of the more outgoing and knowledgeable serving girls into her confidence, she devised a plan. The library had an old pianoforte. Lady Elspeth decided that a nocturnal debut of a Cruxton operetta might just catch Lord Reginald's attention, especially if the players, and notably the star, were suitably costumed. Alice and Sheri were more than happy to play along - musical theatre was a pleasant break from "four-poster duty". The young Elspeth could only assume they were right, not having had any experience of four-posters to that point except for sleeping in, alone. She agreed that musical theatre was more interesting than that. She hoped it would be considerably more interesting.

The noise of the pianoforte and the girls acting out various exciting crux scenes brought Lord Reginald to the library to see what was going on. The noise of the enthusiastic deflowering of Lady Elspeth (with participation of Alice and Sheri at some point) brought Lord Desmond and Elspeth's parents to the library a short time later. Old Lord Desmond shrugged his shoulder and said something about how he thought that would happen. Elspeth's father made noises about someone ruining his daughter. Arrangements were made to deal with what Elspeth's mother called "the scandal".

The following night Elspeth snuck into Lord Reginalds room and he tied her to his four-poster. Thus she found there were other experiences she enjoyed. She still didn't feel ruined - a little sore perhaps, but Reginald wouldn't be sitting comfortably for a day or two either, she reckoned. She had been on her school's tennis team.

Lady Elspeth and Lord Reginald were married within a fortnight and inherited the earldom 2 years later.
 
Lady Wragg's Soiree
LadyWragg-Library1a.jpg

Lady Elspeth Wragg, was not always the forceful, middle-aged matron of Cruxton Abbey. Indeed, she started out as a headstrong, pretty young woman, who attended a week long house party thrown by Lord Desmond Wragg, Earl of Cruxton. She had come, with her parents, who had set themselves the goal of marrying her off to the new vicar, a certain Mr. Jollyrei. She had dutifully met him, but found him to be disconcertingly of indeterminate age, and a tendency to disappear on short notice to do what he called "his duty", after which he would return smelling slightly of curry. She did, however, also meet Lord Desmond's heir, the young Lord Reginald Wragg. He seemed a cheerful sort, and more importantly, he was clearly interested in many of the things that interested the young Lady Elspeth. He liked music. He liked wine. He appeared to like speaking to her as if she had some braincells of her own. That was all well and good, but Lady Elspeth had, upon reaching the age of 20 without so much as a serious suitor, found that she also had certain urges and interests, and decided she needed to find out exactly what those were, and how to appropriately deal with them. In short, she wanted a sexual awakening, and that right soon. The tendency of the serving staff at Cruxton Abbey to go about their duties wearing nothing more than an apron did nothing to disuade her, and indeed she had seen Lord Reginald gazing at the nude and almost nude chambermaids in a way that suggested he needed a new focus for his attention. Taking two of the more outgoing and knowledgeable serving girls into her confidence, she devised a plan. The library had an old pianoforte. Lady Elspeth decided that a nocturnal debut of a Cruxton operetta might just catch Lord Reginald's attention, especially if the players, and notably the star, were suitably costumed. Alice and Sheri were more than happy to play along - musical theatre was a pleasant break from "four-poster duty". The young Elspeth could only assume they were right, not having had any experience of four-posters to that point except for sleeping in, alone. She agreed that musical theatre was more interesting than that. She hoped it would be considerably more interesting.

The noise of the pianoforte and the girls acting out various exciting crux scenes brought Lord Reginald to the library to see what was going on. The noise of the enthusiastic deflowering of Lady Elspeth (with participation of Alice and Sheri at some point) brought Lord Desmond and Elspeth's parents to the library a short time later. Old Lord Desmond shrugged his shoulder and said something about how he thought that would happen. Elspeth's father made noises about someone ruining his daughter. Arrangements were made to deal with what Elspeth's mother called "the scandal".

The following night Elspeth snuck into Lord Reginalds room and he tied her to his four-poster. Thus she found there were other experiences she enjoyed. She still didn't feel ruined - a little sore perhaps, but Reginald wouldn't be sitting comfortably for a day or two either, she reckoned. She had been on her school's tennis team.

Lady Elspeth and Lord Reginald were married within a fortnight and inherited the earldom 2 years later.
Lady Elspeth is portrayed here by Emerika, who is a Polish model, I believe. The long gloves and feathered headpiece are evocative of 1920s haute couture - unfortunately the rest of her costume is not sufficiently visible to describe here. The scene is presented in candle light, and so the inserted Cruxton library background has been suitably darkened with an application of the 'Night from Day' filter.

Multiple filter treatments allow the figure of Alice to blend into the shadows. Her poses from 'Angel of Love' have seen limited use in manips, due to the harsh lighting and wet studio floor, but she looks suitably tenebrous and theatrical in her angel wings. The figure of Sheri on the sofa is much closer to the light source, and she is the only one of the three who is presented in full view, reclining seductively whilst preserving her modesty, in contrast to the topless exposure of the standing girls.

This is a bold concept in terms of lighting and composition, and the result is at once mysterious and appealing. The narrative element explains the nature of the soiree, and confirms that we are witnessing an event which is not entirely uncharacteristic of life at the Abbey. Nice work, Jolly! :)
 
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