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kenomacreature · 4 months ago

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ELYSIUM ESSAY: KILLERS OF THE FUTURE

On the pale's connection to nihilism, and their shared theological origins.

This essay contains spoilers for Elysium Corona Mundi; that is to say, the video game Disco Elysium (2019), as well as the novel Püha ja õudne lõhn (2013), better known as The Sacred and Terrible Air.

My interpretation is heavily informed by the analysis of the pale outlined in ghelgheli’s incredible Introductory Entroponetics. Though it is not strictly required reading for this essay, there will be resonances between the two, and I heavily recommend reading it to gain a better understanding of the pale as both a diegetic and thematic element in the storytelling of Elysium.

Introduction

This is where nihilism leads. It is no longer what could be, or what could not be. It is. [1]

So says Ambrosius Saint-Miro, Elysium’s final innocence, in the ninth and titular chapter of Sacred and Terrible Air, shortly after declaring an atomic war explicitly aiming to expand the pale across the planet’s (?) entire surface. The following chapters depict a world in the process of being wiped out. Nihilism succeeds, it seems – in what Ambrosius would have one believe was an inevitable victory. But though we know now where nihilism leads, one is conversely compelled to wonder: from where did it originate?

Here in our world, nihilism is often thought of as a phenomenon of modernity, a vague force that’s risen to prominence in an increasingly secular and existentially reflexive world. The pale is treated in much the same way by most analyses of Elysium; people suppose it to be an allegory for some offspring of our modern (or postmodern) world. Interpretations differ; some point to the above-mentioned conceptualization of modern nihilism, others might think of Mark Fisher’s concept of capitalist realism and hauntology, others still might have an extremely specialized (and limited) metaphor in mind like social media. Many combine and blend together these various readings to their liking, but most seem to agree on the fundamental point that the pale’s function as a narrative device is to communicate something about the cultural condition of modernity. While it’s doubtlessly right that the pale is used for such narrative purposes, what's at risk of being forgotten here is the fact that the pale is distinctly not a modern phenomenon in the universe of Elysium. In fact, it seemingly predates recorded history. How do we make sense of that fact?

To be clear: I'm not looking to explain what the pale is - you can read ghelgheli's brilliant essay for an attempt at that - what I wish to do is propose an explanation for how the pale developed through Elysium's history to encompass two-thirds of the world. To that end I will be looking at the pale through its association with the concept of nihilism, a connection repeatedly emphasized in the text, and to explore its historical character I will be delving into the thought of what was arguably its first major theorist.

Nihilism and Morality

Christianity was from the beginning, essentially and fundamentally, life’s nausea and disgust with life, merely concealed beneath, masked by, dressed up as, faith in “another” or “better” life. Hatred of “the world,” condemnations of the passions, fear of beauty and sensuality, a beyond invented the better to slander this life, at bottom a craving for the nothing, for the end, for respite, for “the sabbath of sabbaths” [2]

Nihilism really became a *thing* in the 19th century with Russian nihilism, a radical socio-political movement grown from a milieu of moral and epistemological skepticism, seeking to tear down enshrined institutions and cultural values. While I don’t intend to explore the subject in depth right now, it bears mentioning that Elysium’s portrayal of Current Century nihilism as more of an organized political movement rather than the vague dispositional boogeyman that nihilism is so often conceptualized as today takes some clear influences from the history of the early nihilist movement in Russia; Martin Luiga’s Full-Core State Nihilist depicts the countercultural movement in the process of transition into state hegemony following Ambrosius’ ascent to power. Nevertheless, though lines were often blurry between nihilism and more radical political activity here in our world, by itself the former tended to lack a constructive side: it was a movement centered on negation above all. [3] The name ‘nihilism’ was popularized by Ivan Turgenev’s novel Fathers and Sons, where it was used to describe a disillusioned younger generation, and that sense of disillusionment is what has persisted in the image of nihilism to this day.

Eventually, Friedrich Nietzsche incorporated the concept of nihilism into his philosophy after hearing reports of the Russian movement, and it's arguably his interpretation of the concept which has really had the most influence both academically and colloquially. I won’t concern myself much with whether or not Nietzsche’s formulation is truly accurate to the historical character of the original movement; while he may have played fast and loose with the term, I do believe it’s his idea which ultimately reflects the core of Elysium’s nihilism.

Something Nietzsche held, in stark contrast to the understanding of nihilism as an exclusive phenomenon of modernity, was that it was not something new. Rather, it was only the most recent form of a far older idea. To Nietzsche, nihilism was immutably tied up with Christianity, and to what he called slave morality.

Nietzsche had postulated something of an (abstracted) origin story of morality. [4] He starts from the idea of two groups: haves and have-nots, masters and slaves, the powerful and the weak – and he traces the beginnings of morality to the concept of the “good.”

Well, what is good? To Nietzsche, the idea of the good begins simply as that which is synonymous with one’s nature. Or in more immediately intuitive terms, perhaps, what is good begins as what is good for oneself. A way of reflecting yourself in the world around you; all is good that is conducive to your own justice, your own benefit, your own power. This is to say that the concept of the good was affirmative, positive, constructive. The bad, by contrast, was an afterthought; it was simply a word to describe all that was not good, or worse yet hostile to that which was good. This affirmative morality was the domain of those who held power: indeed, its very conception was an act of power and domination. Their conception of the bad encompassed the character of those lower than them on the social hierarchy; the powerless and enslaved masses. Importantly, the condition of being enslaved was what was seen as bad – slavery as a social relation was not. And importantly, “bad” for the masters did not have any inculpatory dimension: people’s badness was not ontologically wrong, it did not call for punishment, it did not rouse one to righteous anger. Far from it; a predator does not resent its prey for being weak, after all.

Contrasting this, Nietzsche describes another sort of morality which takes as its basis the exact same content of that which is good in the masters’ morality; only, it no longer goes by the name “good.” This morality has reversed the traditional axes of valuation – but what was previously “good” is not just called “bad” now, either. The negative axis, which the masters termed bad, is substituted for a new concept: evil. The slaves, weary of life and helpless in fighting their oppressors, develop a deep-seated resentment for the masters which festers inside of them and can only be expressed through an imaginative capacity. It is thus that the slaves (in collaboration with a similarly impotent priestly faction of the masters) mendaciously turn the dominant morality against itself. Everything synonymous with their masters becomes evil: intrinsically, immutably wrong, and blameworthy. And its opposite – the good – is an afterthought: being good simply consists in not being evil. In this way, slave morality is premised on negation. This is Nietzsche’s (very truncated and simplified – because this essay can only be so long) psychological explanation for what eventually is crystallized in Christianity.

The idea of ressentiment is core; a hateful, vindictive, yet impotent desire for revenge. Also important is the promise of relief. Not only is satisfaction taken from the fantasy of one’s oppressors burning in Hell for eternity, but also in the idea of eternal reward, eternal rest, eternal peace. All that which one could not have in this life, bequeathed infinitely. Those are the engines which power slave morality for the next centuries. Though it achieves cultural victory with the coming-into-power of Christianity, Nietzsche describes these opposed modes of valuation duking it out on the battlefield of History for thousands of years; through different ages and societies, the dominant morality was invariably some uneasy mixture of the two. Slave morality is eventually perfected in the bourgeois class and achieves victory and dominance with the French Revolution, before culminating in its own self-immolation. The search for Truth uncovers the illusory quality of God – and from his rotting carcass, secular nihilism emerges like a butterfly from chrysalis, its theological shell cast off. While God and the afterlife may no longer be sustainable ideas, the rejection of the material world remains for the nihilists. Life-denial remains.

On the supposed innocence of Innocentic Rule

What if a symptom of regression were inherent in the “good,” likewise a danger, a seduction, a poison, a narcotic, through which the present was possibly living at the expense of the future? The desire for a unio mystica with God is the desire of the Buddhist for nothingness, Nirvana - and no more! [4]

How are Nietzsche’s ideas relevant to Elysium? We should be careful in applying them since, after all, Elysium’s history developed differently to ours. That said, it can’t have been too differently. Communism is a thing, along with its associated historical materialism, which means that the development of classes proceeded along more or less similar lines – from the specialization of labor, civilization is birthed in antiquity alongside class distinctions, slavery emerges from civilization's necessities, serfdom becomes dominant as slavery declines, the merchant class of the bourgeoisie comes into tension with the aristocracy, and finally the proletariat is born from the decline of serfdom. Likewise, we have evidence of slave morality: life-denial as virtue which secures a better afterlife, [5] the heaven and hell dyad [6] and the monotheistic god [7] are all ideas we see crop up from time to time. And, of course, overt nihilism becomes dominant near the end of Elysium’s history, a situation which Nietzsche viewed as a sort of end state for slave morality.

To get to the root of how slave morality might’ve developed in Elysium, it seems prudent to travel back to the beginning of its recorded history, to the Perikarnassian. Indeed, we find that 'Pius' is said to have invented the idea of the monotheistic god and the equality of all men before it; [8] a surefire sign of slave morality. Now, to be fair, the Perikarnassian and Elysium’s antiquity in general is shrouded in mystery, and it’s dangerous to presume too much about their beliefs. Given that 8,000 years ago is remarkably early for the invention of a monotheistic god compared to our world (where Judaism and Christianity only came to prominence ca. 2,500 and 2,000 years ago respectively) it may even be that this is an historical revision of some sort.

Regardless, Perikarnassianism is always emphasized as a theology, [9] and the one thing we can (with relative certainty) say they founded is the innocentic system. The true novelty of the Perikarnassian, thus, was the view of History as finite and teleological; the future no longer a ceaseless, unknowable onslaught on the present, but a distant destination, a promise. Potentialities erode; in the ecclesiastic view, events move along a fixed track. God has a plan and the innocence carries it out.

Let’s inquire into the name innocence for a second. What does it actually mean? Ambrosius has something curious to say about it in his speech to the citizens of the world: “I am innocent, and now you are too.” [10] What this connotes to me is a certain psychological function for those who accept innocentic rule. The Perikarnassian must have emerged from a society of widespread suffering, presumably abounding with slavery and other brutally pronounced forms of class domination, with no relief in sight. Unlike the communists of modernity, a working class revolution was literally unthinkable for the laborers of antiquity, since surplus extraction was absolutely vital for the functioning of ancient civilization. What is left but to reject the world and place faith in death itself? Such (I postulate) was the Perikarnassian zeitgeist; rejection of material existence. Nietzsche always emphasized that people can suffer through anything, so long as they believe that suffering to be meaningful. And I think this is precisely what the idea of the innocence provided: a meaning for one’s place in the world, in history. It said: you are okay. You suffer now, but that suffering is necessary. Your existence is not arbitrary; it is positioned on a path that is proceeding righteously towards liberation. The basic idea behind the innocentic system is that people defer responsibility for their own existence to an innocence, which redeems it as necessary (and thus innocent) by virtue of their own inherent necessity (thus innocence). I also believe (assuming that the Perikarnassian really was the first monotheist) that followers were assured that upon their own death, they would be reunited with God, and that the destination of History was a universal reunion in divinity, a perfectation; in other words, I think the Perikarnassian faith developed Elysium’s first robust eschatology.

We know that the pale was first studied in Perikarnassian antiquity. But there’s something peculiar about the information we get: study of the pale only reaches back 6,000 years, 2,000 years after the Perikarnassian was appointed innocence. 2,000 years is a long time. We know that by the time the pale was being studied, it surrounded the Perikarnassian super-isola, even if its inhabitants were only aware of it to the west. [11] But did the same apply when the Perikarnassian was coming into power? My proposal is that the first major expansion of the pale was the result of the invention of innocentic rule. Through a rejection of material existence, and belief in its eventual end, possible futures were narrowed down, feeding the pale. In a world like Elysium’s where thoughts have extra-physical properties, it perhaps shouldn’t come as a surprise if the first step on the road towards apocalypse was the widespread belief in its inevitability.

Nihilist Universalism

Our responsibility is thus much greater than we had supposed, for it concerns mankind as a whole. If I am a worker, for instance, I may choose to join a Christian rather than a Communist trade union. And if, by that membership, I choose to signify that resignation is, after all, the attitude that best becomes a man, that man’s kingdom is not upon this earth, I do not commit myself alone to that view. Resignation is my will for everyone, and my action is, in consequence, a commitment on behalf of all mankind. [12]

The nihilists of Elysium's modernity understand themselves to be rebels, breaking with the past in radical fashion. I suspect they’re really anything but. They are, rather, the culmination of the past 8,000 years of cultural development. Ambrosius Saint-Miro understood this fundamentally, and though we should be careful not to just take him at this word, I really can’t disagree when he positions himself as the inheritor of the innocences’ historical legacy. The widespread belief in an inevitable reckoning made it a reality; Ambrosisus was simply the one who ended up fulfilling that long-held desire.

I really think that in Elysium, nihilism should be understood as a latent principle pervasive throughout human history, present from its dawn and structuring most of its hegemonic culture as it develops into the perfected form that materializes at the end. It contaminates everything. Moralism seems like its opponent – the Moralintern talks of its duty to protect humanity from eschatologians, [13] and Mesque street nihilists talk of moralf*gs [14] – but really, they are united on the question of humanity’s future: there is none. The main difference is that the moralists believe that humanity already achieved its highest level with Dolorian humanism, whereas nihilists believe there to be one more step. The moralists enable the nihilists, because no one could be satisfied with the status quo they reify as humanity’s final form. By closing off alternative paths, they leave people with only the same choice as the ancient Perikarnassians: to reject the world entirely.

The line is likewise thin between communism and nihilism. In-universe theorists have framed communism as a secularized version of Perikarnassian theology, [15] and in our world similar comparisons have been drawn with Christianity and Judaism. The communist view of history is, if not teleological, then at least perilously close. It likewise dreams of future liberation, made inevitable by the laws of history. The difference is that in spite of its arguable origin in slave morality, communism rejects it. Communism conceives of a future beyond liberation. Its hope for the future is nearly limitless, the plans for a post-revolutionary humanity are too many to count, and it's all possible in this world, by ordinary human hands, if only we fight. [16] That is the difference; absolute negation is replaced by sublation. Communism isn’t the end, it’s a new beginning. As the ghost of Ignus Nilsen sums up: “Communism is the morning, it is jubilation!” [17] This is why Sola is actually, in spite of what some Yugo nationalists believed, a truly communistic innocence. Paradoxically, it was only by rejecting the innocentic system itself, undermining its credibility and power, that she could ever truly embody the revolutionary spirit.

One day, I was scrolling through reddit when I saw this meme posted on the subreddit r/nihilism, which I guess the algorithm thought appealed to me.

It’s a very simple, typical kind of antinatalist sentiment, but I found it illuminating. This is just suicidal ideation universalized. Instead of non-existence being preferable to one’s particular set of circumstances, non-existence is placed above existence itself. And really, this is what almost all organized religions amount to; it is the basis of slave morality.

I haven’t talked much about the ressentiment that so majorly factors into Nietzsche’s critique of slave morality and nihilism, but if we look at Zigi, Elysium’s nihilist par excellence, we see very well the consequences of a worldview based entirely on negation. Zigi’s attraction to communism extends only to its destructive potential, its utility in tearing down the middle class. Zigi’s not motivated by any kind of hope for a better world, only by his hatred for everything in it and especially those on the rung above him. As the text colorfully puts it, he wields the communist tradition’s numerous terms for the bourgeoisie “like a butterfly knife” [18] and before long is hallucinating Ignus Nilsen egging him on as he promises to rape and murder them. Zigi himself is not oblivious to his own motivations, at least not twenty years later; Ignus asks him, “Why have you been with me all these years if you don’t believe in communism?” and Zigi answers, “Because of anger towards those who’ve had it better in life.” [19]

Nihilism doesn’t discriminate. As we see with Zigi, communism can easily be bent towards nihilistic ends. So can fascism: Ambrosius comes to power by weaponizing nationalism in a similar way. [20] Nor are moralism or ultraliberalism or any other ideologies off-limits. Ambrosius understood that nihilism is anti-sectarian; people can find relief and comfort in anything as long as it's incubated in the warmth of memory. Maybe it’s the mass optimism of revolution, or the splendor of a royal parade, or the extravagance of boiadeiro movies, or the power of Dolores Dei radiating off the stained glass. “I don’t pretend to know what terrible beauty is to you. The secret to your heart.” [21] Ambrosius positions entropolism as the realization of heaven on earth, by swallowing material existence in its own memory. But is this right? When Zigi spouts Miroan philosophy, the narration tellingly informs us that the hall is filled with his “half-truths.” [22] One is compelled to ask: who will be doing this remembering? Who will be there to live in the past? Ambrosius certainly does not make a distinction between annihilation via the pale or via atomic explosion. Nihilism lays bare what apocalyptic faith has always been beneath the obfuscations: at heart, a desire to be unborn.

Death -- but for the universe.

List of references

1 Robert Kurvitz, Sacred and Terrible Air, Chapter 9. Group Ibex translation

2 Friedrich Nietzsche, “An Attempt at Self-Criticism”, preface to The Birth of Tragedy. Walter Kaufmann translation

3 Michael Allen Gillespie, Nihilism Before Nietzsche, pp. 140

4 Friedrich Nietzsche, On the Genealogy of Morality (which the discussion of Nietzsche's metaethical theory in "Nihilism and Morality" is primarily drawing from)

5 “One should live virtuously in this life to live better in the afterlife…” (FAYDE)

6 “The passage between heaven and hell…”

7 “God is dead…”

8 “It’s said he *invented* God…”

9 “Perikarnassian theology…”

10 Robert Kurvitz, Sacred and Terrible Air, Chapter 9. Group Ibex translation

11 “The study of the pale reaches back 6,000 years…”

12 Jean-Paul Sartre, Existentialism is a Humanism. Philip Mairet translation

13 “Protecting it from ideological highwaymen and eschatologians…”

14 Martin Luiga, Full-Core State Nihilist

15 “It replaces faith in the divine with faith in humanity’s future…”

16 “All the other plans we had. To love. To colonize the pale…”

17 Robert Kurvitz, Sacred and Terrible Air, Chapter 16. Group Ibex translation

18 Robert Kurvitz, Sacred and Terrible Air, Chapter 12. Group Ibex translation

19 Robert Kurvitz, Sacred and Terrible Air, Chapter 16. Group Ibex translation

20 “An especially nihilistic strain of nationalism…”

21 Robert Kurvitz, Sacred and Terrible Air, Chapter 9. Group Ibex translation

22 Robert Kurvitz, Sacred and Terrible Air, Chapter 12. Group Ibex translation

#elysium corona mundi

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the-shifting-long · 4 months ago

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I intended for the post these tags are on to be the last thing I say about fandom misogyny for a While because I felt like I covered everything already but oh my god YES I agree So hard

In general, while I do think Princess/TLQ are permanent partners, they're also not...human. they certainly act human, but they don't carry the same societal baggage that we get saddled either by virtue of being born surrounded by other humans.

And then "marriage" as a concept is one that is so vastly different in so many cultures and time periods, and at least for the kinds of marriages I'm familiar with, there are a Lot of benefits for abusive partners and Especially men to obtain legal and financial power over their partner through marriage. Like, so much of marriage, on top of its symbolic and romantic value, is also its legal and financial ones, as well as social positioning/maneuvering-"wife" carries more weight than "girlfriend", serves as a status symbol. I don't think the Princess and TLQ would really care for that.

HEA doesn't touch on the complicated socioeconomic issues that come with marriage, especially traditional/heterosexual marriage, but it does touch on so much of the domestic unhappiness that comes with it, especially in regards to how you, the player, and the Smitten keep her in this unhappy, stale situation she's Supposed to be happy with. Opportunist even calls her "our queenly wife."

So like on top of marriage being a distinctly human construct/invention I'm not sure those two would vibe with when they can literally merge their souls together at any given moment. HEA in particular would fucking hate it. She's already Been trapped with a partner in a situation all too similar to the Traditional marriage. I could see arguments for other princesses. for a modern-AU Prisoner using marriage for tax benefits and secretly being delighted when she signs the papers, for Tower or Nightmare to make the player legally her pet in a similar fashion, for the Wounded Wild to accept it...

Never HEA. And yet the majority of StP marriage content is HEA, because she's their favorite and she's wife. Never mind how much she hated it. Never mind that her whole route is about how much she hated it. She's wife! We love her! She loves us! Of course she'd marry us, there's no other option! We HAVE to symbolically own her and tie her to us forever! Right???

#it's ridiculous.#to be clear marriage is insanely important and good in a lot of cases #people fought for gay marriage precisely because not having those legal/financial benefits was a huge fucking problem #especially when their partners died or were in medical emergencies.#but i think it's really irresponsible to act as though it can't also have HUGE drawbacks #ESPECIALLY a traditionally-structured marriage #as an institution it partially exists so a partner of a certain gender can legally own another.#this has changed a LOT in recent years but it is fairly recent (historically speaking) and still is used that way in a lot of cases.#and i'm not trying to undermine the symbolic and romantic value either #but i don't think a piece of paper or label defines a romantic relationship Especially the one on the level of TLQ and Princess's.#and for princesses like Thorn and HEA while i def relate with loving the shit out of the princess n wanting to wife her #and be her wife and her husband and have her be your wife and love her love her love her forever.#...i don't think Marriage specifically Is the way to love them forever.#the sheer level of trust issues with Thorn + HEA's EVERYTHING is like. i don't think they'd go through with it.#i think it'd give them a lot of anxiety and make them miserable.#BUT THEYRE LOVE INTEREST. SO THEY MUST BE MARRIED.#never mind that they can have a Just as serious and valuable relationship without it.#and it IS misogynist it plays into the idea that This is how a relationship between a man and woman is Supposed to be #you are Supposed to be married to fulfill the ''role'' of a wife #and when u think about what the Role of a wife in marriage is...#like. ugh. sometimes i wonder if the people who love HEA actually love HEA the princess #or if they just love the whole little narrative of leaving a miserable situation and dancing with their cute sad wife.#because i'm not sure people even really get why she's so miserable in the first place.

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lenalenouilleisblogging · 4 months ago

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2024 feminist movie retrospective ~ day 3

LET'S GOOOOOOOOOOO WOMEEEEEN 🔥🔥

*cough* Sorry. Uuuuuuuh. Well. Do I need to introduce this movie? It's fucking Furiosa. This is radblr here, I assume we've all had at least one wet dream about Imperator Furiosa 🫡 raise your hands. No? Just me? That was a bit by the way. I'm kidding. I swear I am... Let's talk about Furiosa : A Mad Max Saga ! Spoilers will be in red. Graphic descriptions of violence and sexual slavery ahead.

Watched : May 24th at my city's independent theater. The showing was pretty empty.

One thing you gotta know about me, I'm a fangirl by nature. But I'm not a forgiving fan. I'm not the kind to just be happy that an IP I like is getting some new content and be happy with anything I'm given. I'm a really demanding fan. If an IP I like is getting new content, I'm gonna need it to be up to the task. And as a long time George Miller fan and an absolute Mad Max Fanatic, I expected a LOT out of Furiosa.

I think this movie can be enjoyed even with no prior knowledge of the MM series. Personally, I'm glad I watched these films in the order that they came out and I would recommend you do the same, but if for whatever reason the rest of the series doesn't interest you and you just wanna see Furiosa, go for it, there's no big story thread that will confuse you.

Mad Max is a series of dark adventure movies set in a post-apocalyptic world, an unknown number of years after our time. In the first movie released in 79, the economy and the state seem to have collapsed but there is still a semblance of an organised modern society amongst the violence. From the second movie onward, it all goes to absolute hell. The first film had a very limited budget and you can tell the team was working with what they had and were still finding their footing. It was a very different type of film but it was already a massive success, a very original concept, and still to this day probably my favourite entry in the series in terms of narrative.

Emboldened by the massive success of MM1, George Miller and his team got more freedom, more money, and started dreaming big. Every film from MM2 onwards became more and more balls to the walls insane. It all reached a climax with Fury Road in 2015, the most expensive and ambitious film in the series.

Since MM2, the franchise has had a strong visual and thematic identity with a lot of easily recognisable elements. A fashion heavy on leather and chains that seems BDSM inspired, a strong narrative presence of children and parental themes, a cast full to the brim with actors/extras who are visibly disabled/have congenital physical quirks, and a strong environmental message. The world of Mad Max is a seemingly endless desert where fuel has become the most sought after ressource and engines/vehicles are deified. It's big, it's empty, it's dry, and it's distinctly... well, distinctly australian.

Furiosa : A Mad Max Saga is the fifth movie in the series and as the name implies, the first one to not have Max as the protagonist. It is the origin story of a character who was introduced in Fury Road.

The story follows the titular Furiosa as she gets kidnapped at a young age from her home, the "Green Place of Many Mothers" by a biker gang from the desert who seeks to take over the Green Place for resources. As Furiosa is taken deeper and deeper into the Wasteland, she is caught in the crossfire between two feuding warlords, Immortan Joe (who will then become the main antagonist in Fury Road) and Dementus. The story takes place over many years, showing us what happened to Furiosa to make her the ruthless Imperator we know her as.

To start, a few notes on this film's relationship to the previous one : I think it's pretty flimsy. An origin story is supposed to give us additional information about an interesting character, and while the movie does add new elements, i just don't think it's enough. Just so we're clear : i think Furiosa is AMAZINGLY developed in this film. She's an incredible character. I just wish the film gave us more new elements. The Green Place is a major plot point in MMFR, but here it appears on screen for less than 5min. And more importantly, we never get a definitive answer as to what happened to it?! It's frustrating because as much as i love this movie's story, i think it's a bit of a false advertisement. MMFR tells us all about this heavenly place Furiosa is from, and halfway through it's revealed to have died/been destroyed. That was a hugely dramatic moment for Furiosa in FR!! We're then told we're gonna get an origin story for her, which opens with a scene in the Green Place, then the film leaves it behind to focus on the same areas we know from FR, and we're left with the same questions than 9 years ago! Showing it in a few shots doesn't matter in the end, we have gained ZERO new information about it. And most of what we "learn" about the main character in this film, apart from elements related to newly introduced characters (Dementus, Jack), is stuff that we could have guessed ourselves. It showed us events yes, but too few elements of characterisation to make this a satisfactory origin story.

There's also an issue with the movie's status as a prequel, but that's a common problem that isn't exclusive to Furiosa. To put it simply, it lacks stakes. We know Furiosa survives because we've seen her older. We know the Green Place dies off anyway. And more importantly, we already know when the conflict begins that Immortan Joe will be victorious, the whole point of FR was that he was top dog. It was a strange decision to focus so much on a conflict between Immortan Joe and ANOTHER warlord, as if we don't all remember the previous movie. Honestly, a film that follows Furiosa's mother in the Green Place, in conflict with Dementus, then ENDS with the mom dying and Furiosa being taken would have been a better choice i think! It would have been less marketable probably, but more compelling. No one would have been confused as to what happened to Furiosa between the Green Place and Fury Road. It's pretty easy to fill in the blanks with the info we got before this film. Anyway, that's enough complaining. Again, just so we're clear, i don't think this film is badly written. In fact it's the opposite! The film tells its story very well, i just personally, as a fan, wish it had told a different story.

(edit : oh yeah I forgot, there IS one massive plot hole in the film. The arm thing. Uuuuh what happened there. How... What... But hey this is Mad Max, it's told like a legend/tale. So we'll just say that detail was lost in time lol)

Holy shit, writing in bright red for 20min hurt my eyes so bad lol why did i do that.

Apart from storytelling decisions (as seen in the spoiler section above) the only other criticisms i have are : one, absolutely TERRIBLE looking CGI fire, and two, an over-abundance of fade to blacks in the editing. But that's just about my personal tastes, these always feel like they make movies seem slower to me, but it might be just me. Apart from that, well, i loved everything, so let's talk about the rest.

The movie is incredibly atmospheric. The music by Junkie XL (who had already delivered a banging ost for Fury Road) is perfect, and is incorporated into the action so naturally. It's intense, it's poetic, it all works so well. Miller's movies always have great sound in general, this one is no exception. The universe is well developed and feels lived in, as usual with the franchise. There's something interesting to look at in every shot, there's so much attention to detail everywhere. The acting is PHENOMENAL all around. I've been a huge fan of Anya Taylor Joy since Split, and she didn't disappoint here. But the biggest stand-out by far is Alyla Browne as kid Furiosa. Good child performances are far from common in blockbusters, but she's undoubtedly the star of the show here. I hope she has an amazing career ahead of her. Chris Hemsworth as Dementus was a surprise, i've almost exclusively seen this guy in Marvel slop, but he gets to shine here and he's fucking great?? I think it's the first time i hear him use his real australian accent in a role and it works great with the character. His physical comedy and line delivery are always on point, he was by far the most entertaining character. That's no surprise, Mad Max ALWAYS shines with its insane villains.

The movie's incredibly well shot and makes plenty of daring and interesting stylistic choices. It's stunning to look at. The CGI is significantly more visible than it was in FR and i'm... not sure why... The budget is after all very close to the one of the previous film, and the production was to my knowledge not rushed. On one hand the film is 30min longer but on the other hand it's also much less action packed. It might be a choice..? George Miller and his team have always handed the effects very well. The CGI in Fury Road was SO good that still to this day some people believe that the film only had technical effects with no digital help. It was invisible.

Here the effects work the same way (they enhance impressive real-life stunt work) but they are distinctly more plastic looking, and the vibe is very different. For a lot of spectators this was a problem, which i understand. For a lot of people, CGI exists to enhance visuals in a way technical effects can't, and is successful only when it is absolutely unnoticeable. That's not my opinion. As long as it's well thought out, well designed, well animated, and entertaining, i love fake ass looking films :D

(i've seen someone complain about a time-remapping issue in the CGI but even when i rewatched specific scenes i didn't notice anything, so it's probably a nitpick only animation professionals will care about.)

It's not just the visuals and the effects that feel like it was made specifically for me. The whole vibe is exactly my thing, i can't lie... There's an impressive action set-piece midway through the film that lasts almost 15 minutes, and it's... a lot. There's a lot happening at once, it's purposefully very busy to the point of being overwhelming, and some spectators found it to be too much. But fuck, i can't relate. Inject that shit straight into my bloodstream all day every day. It's insane, it's silly, but i'm a James Cameron/Whachowski fan, i don't care i love that shit. (i only like the Wachowski as artists, not as people...💀💀)

As silly as the action sometimes get, the film is actually very serious overall. It's clearly less campy and more focused than Fury Road was. As disappointing as i found some narrative choices to be, i have to admit that the story IS the film's biggest strength.

It clearly follows directly from the last movie in terms of style. But in terms of substance, i think it's closer to the original trilogy. (and i actually think this is why the movie flopped. Fury Road was already too expensive and i think it barely made its money back. But since then the movie has gotten quite the cult following, and a lot of these people were disappointed by Furiosa because it wasn't Fury Road 2. It's not a fast-paced never-ending chase, yes there's action, but it's mostly a serious, slow, silent, character driven film. And i'm really happy about that. I didn't want this saga to turn into 2hour stunt showcases. Yes i love FR, but i'm glad it turned out to be the exception in the series and not the new norm.)

As I said earlier, the best part of this film is its story. It has a great tone, it fits well in the series, the ending is frankly amazing. Some people found it anticlimactic and... Uh?? I don't get it. It was beautiful and coherent with everything we saw before. If you're like me and you're always a bit frustrated because movie antagonists rarely get the comeuppance they deserve, because the hero is like "no, I'm better than that 🙂‍↔️" then rest assured I LOVED that ending. Furiosa you're so sick and twisted. I am in love with you. WHO SAID THAT

Even tho the film is a prequel, the story takes plenty of unexpected turns and expands on the universe in a way that will please all fans of the series I think. And it's also, say it with me now : a great feminist tale.

I won't insult your intelligence by explaining why it's significant that the only safe haven in this deadly desert is named "the Green Place of Many Mothers". As I said at the beginning of this review (approximately 150 years ago), children and parenthood have always held a special place in this franchise. And since Fury Road, it's more specifically motherhood and women that take center stage. The actions of the two antagonists of this film cannot be removed from their maleness. Dementus is a creep, Immortan Joe is a monster. He holds all the power and resources of his community and collects women like livestock.

In the world of MM, People have started being infected by unknown influences and the population is mutating. Growing more and more unhealthy, less and less fertile. Those with no congenital disabilities and malformations are called full-lifes. Immortan Joe keeps a harem of women, locked up in his palace. All wearing chastity cages. Their prison is pretty, inviting, clean, the illusion of a better life. Forced to be raped by their master, they must give him a full-life male baby. Three strikes (as in, failed or disappointing pregnancies) and they're out. But they're not "out" like all the random men trying to survive on the outside. They become milkers. Supposedly kept pregnant as long as they're able to, to make more child soldiers for Immortan Joe.

When kid Furiosa is traded/sold to Immortan Joe, she becomes a future wife. She lives with the other full-life women, terrified of the master's oldest son who is a bit too interested in her. She decides to shave her head and run away from the prison to instead work as a mechanic. (Yeah it's one of these stories where no one can recognize sexual dimorphism and as long as you shave your head and don't speak you pass as male)

We see her slowly learn the ropes and work up the ranks, until she is the Imperator we all know. When her identity is discovered (before she is an imperator) Immortan Joe doesn't suggest making her a wife again. For two reasons : one, she is so talented at what she does that it is more useful to let her keep her current job, and two, by doing what she has done, she has effectively ruined her womanhood in the eyes of men, which makes her unworthy of breeding with. The wives become very important characters and a crucial plot point in Fury Road, and it's abundantly clear that Furiosa is not treated by men the way they are, even tho she too is a full-life female. To them she is better and lesser at the same time. She becomes a strong, powerful woman; and it terrifies them.

Furiosa is a great film about an even greater character. And I'm not just saying that because I love seeing myself be represented on screen (bald women 🩷). If you like Mad Max, I hope we can agree that this franchise needs more varied POVs like this. Not that I dislike Max, he's my special boy. It's just nice to see different corners of this world. If you don't know Mad Max, I hope this introduces you to it and you end up loving it as much as I do :)

Final rating : FURIOSAAAAAAA/10

This film gets the official Léna seal of approval! It's one of the best of 2024! Here's a link to the trailer.

#hey quick edit ❗#i realized while rereading that maybe i didn't express myself in the best way in the last part.#i'm not saying that this is a good feminist tale/that furiosa is a powerful woman BECAUSE she hid her sex from the other characters #this is just one of the many things she does in her journey. at the end of the day this is a character who was raised in an feminist utopia #who is taken to this horrible place #and she sacrifices her own safety to protect women who are NOT weaker than her; but who don't know that there could be a better life out #there for them because that's simply how they were raised. the wives; as we then see in FR; are very powerful women as well.#just not in the action hero way that Furiosa is #Léna's originals and additions #MY FANDOMS #film yapping tag #review tag #radical feminism #radblr #movie tag #mad max

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jewish-sideblog · 11 months ago

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very interesting to me you classify israel as non western. to me as someone from the global south it slots under western

Shalom! Thank you for giving me an excuse to flex my sociology degree! (Also, sorry you accidentally gave me an excuse to flex my sociology degree.) The "Western World", like any social concept, is a term that's mostly bullshit and subjective. But it does have some important factors that allow us to determine what counts, and what doesn't. Usually, when people think about the West, they think about globalization and industrialization-- Israel has that in spades, and I imagine that's what you're referring to when you consider it to be Western. But that's just the economic element. There's also a crucial cultural element. Otherwise, Singapore would be Western, despite being squarely an Eastern nation by any other metric.

The foundation of Western society is rooted in both Greco-Roman and Christian philosophy. Those two forces have shaped how Western nations think and act, and are responsible for modern Western conceptions of race, family, nationhood, morality, and philosophy. I won't say that none of those concepts were picked up by Ashkenazic or Sephardic Jews living in the European diaspora over the years. However, the basis of Jewish culture, identity, and ideology predates modern Western civilization by hundreds of years. We existed before any modern ideas of nationalism, before the concepts of racial identity and ethnicity, and before the separation of religion and culture. And Israel is made up of the world's Jews. Mizrahi Jews, who spent their diaspora in the Arab World (distinctly non-Western!) account for an equal or slightly greater percentage of the Israeli population than Ashki Jews.

I've personally never seen an academic source refer to Israel as Western, and I've never seen a map of the Western World that highlights Israel in the same colour as America, Canada and Western Europe. If you have, though, Anon, I'd love to see it and learn their reasoning! Hope you're having a wonderful day.

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thevoicofprincenoir · 14 days ago

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A Review on Epic The Musical

"Epic The Musical": A Modern Odyssey of Sound and Story

I. Introduction: A Modern Epic's Resurgence

The enduring narrative of Homer's Odyssey stands as a foundational pillar of Western literature, a timeless saga of homecoming, relentless perseverance, and the human spirit's unwavering resolve against formidable challenges. Its profound thematic explorations, encompassing the deep-seated yearning for nostos (homecoming), the societal imperative of xenia (guest-friendship), and the hero's transformative journey, have resonated across millennia, firmly cementing its place in the literary canon.1 The poem's distinctive non-linear chronology, which immerses the audience

in medias res and unfolds much of Odysseus's tale through his own retrospective narration, has historically invited a myriad of interpretations and adaptations, allowing each successive era to discover its own reflection within the ancient narrative.2

In a groundbreaking contemporary reimagining, "Epic The Musical," conceived by the visionary Jorge Rivera-Herrans, has emerged as a captivating phenomenon that has seized the attention of a global audience. Structured as a nine-part series of sung-through concept albums, this ambitious work boldly reinterprets the ancient Greek myth, infusing it with a dynamic blend of musical theatre, the vivid storytelling of anime, and the immersive soundscapes characteristic of video games.5 This unique fusion culminates in an experience that is both innovative and deeply immersive. The musical's distinctive development and its meteoric rise to widespread popularity, largely propelled by online platforms such as TikTok, underscore a significant paradigm shift in the creation, distribution, and consumption of theatrical works.6 This pioneering approach has not only fostered an unprecedented level of accessibility but has also cultivated a vibrant and highly engaged community, demonstrating a potent new model for artistic dissemination.7

The digital-first approach adopted by "Epic The Musical" fundamentally reshapes the landscape of musical theatre, making it available to a vastly broader audience. Unlike traditional stage productions, which are often constrained by geographical limitations and financial barriers, "Epic" has directly reached a global listenership through streaming services and social media. This enhanced accessibility has not merely expanded its reach; it has actively cultivated a deeply engaged and participatory fanbase. Evidence of this strong connection is abundant in the proliferation of fan-created animatics—animated storyboards accompanying the songs—and the lively discussions surrounding character designs and staging that transcend the audio experience alone.7 This innovative model suggests a broader cultural movement in artistic consumption, moving towards more interactive, community-driven forms of engagement. The transparency with which Rivera-Herrans documented his creative process, meticulously sharing ideas, edits, and rewrites on platforms like TikTok, further deepens the bond between creator and audience.8 This transforms passive listeners into active participants in the musical's evolving journey, challenging conventional notions of what constitutes a "musical" and paving the way for new expressions of theatrical art. This report will demonstrate how these artistic liberties, far from being mere "inaccuracies," serve to deepen the story's thematic exploration, solidifying "Epic The Musical"'s place as a truly exceptional and "very very good" modern adaptation.

II. The Sonic Tapestry: A Deep Dive into "Epic The Musical"'s Songs

Masterful Composition and Genre Fusion: Jorge Rivera-Herrans' Musical Genius

Jorge Rivera-Herrans has garnered widespread acclaim as a masterful composer, demonstrating an exceptional aptitude for weaving intricate musical motifs that not only distinctly define characters but also powerfully propel the narrative forward.5 The musical draws its inspiration from a rich and diverse array of sources, including the established traditions of musical theatre, the dynamic and often visually driven storytelling of anime, and the immersive soundscapes characteristic of video games. This ambitious fusion culminates in a rich tapestry of various musical genres.6 This deliberate and expansive approach to genre integration creates a distinctive sonic identity for each of the nine sagas, ensuring that every album release is memorable and that each segment possesses a unique sound and feel, thereby preventing any sense of monotony across the extensive work.5

The compositional range exhibited throughout "Epic The Musical" is truly remarkable, encompassing both adrenaline-fueled songs that drive the action with palpable energy and soul-crushingly beautiful ballads that delve into profound emotional depths.7 For instance, the song "Storm" underwent a deliberate and significant transformation during its development, shifting to a complex 7/8 time signature and incorporating epic choir vocals. This meticulous crafting effectively evokes the overwhelming and divine presence of a colossal storm, demonstrating a keen understanding of how musical structure can enhance narrative impact.10 Similarly, "There Are Other Ways" stands out as a prime example of the musical's impressive genre versatility and willingness to experiment, notably blending elements of bachata with a striking key change and intricate overlapping vocals.10

Vocal Powerhouses: Performances that Elevate the Narrative

"Epic The Musical" is brought vividly to life by a cast of truly remarkable vocal talents.7 Jorge Rivera-Herrans himself delivers a compelling and nuanced performance as Odysseus, infusing the central character with depth and complexity.5 The ensemble features standout contributions from artists such as Troy Dohert as Hermes, Talya Sindel as Circe, Steven Rodriguez as Poseidon, Ayron Alexander as Antinous, and Teagan Earley as Athena.7 Reviewers particularly highlight Rodriguez's masterful ability to convey Poseidon's character progression, evolving from a calm fury to an unhinged menace purely through his vocal delivery, allowing listeners to almost viscerally perceive the drowned depths awaiting those who incur his wrath.11

A brilliant creative decision, particularly crucial for a musical primarily experienced through audio, is the consistent use of distinct instrumental motifs for key characters. Odysseus is accompanied by a guitar, with its type subtly shifting to reflect his changing moods and intentions; Athena is marked by soothing piano sounds; Poseidon by a powerful trumpet; and Polities by higher-pitched instruments like the marimba.5 These instrumental cues serve as vital non-visual identifiers, helping listeners track characters and their emotional states, especially given that the musical has not yet debuted on a traditional stage.5 For a musical primarily experienced through listening, these auditory markers are not merely stylistic choices but critical narrative devices. They allow for sophisticated characterization and emotional tracking without the need for visual aids, making the complex story remarkably easy to follow and understand.5 The deliberate variation in musical genres and tones across the sagas is not just a display of stylistic flair; it is a profound reflection of the evolving psychological and physical landscapes of Odysseus's arduous journey. The shift from lighter sounds to darker instrumental tones mirrors Odysseus's transformation and the increasing gravity of his challenges, demonstrating how the musical form itself becomes a powerful vehicle for thematic expression.5

Lyrical Brilliance and Emotional Resonance: Crafting a Story Through Song

The musical's lyrics are consistently praised for their exceptional quality, demonstrating extremely well-written prose and clever wordplay that significantly enrich the narrative.11 They possess a remarkable ability to deliver a potent emotional punch precisely when required.11 Songs such as "Wouldn't You Like" 12 and "There Are Other Ways" 13 exemplify this lyrical depth, showcasing complex character interactions, nuanced moral dilemmas, and the subtle interplay of persuasion and manipulation, as seen in Hermes tempting Odysseus with power or exploring Circe's intricate relationship with him.

Emotional moments throughout the musical are profoundly amplified through the powerful medium of song. The visceral gut-punch experienced when Odysseus encounters a previously unknown dead character in "The Underworld" 11, or Penelope's heart-wrenching line in "The Ithaca Saga" 8, are rendered all the more impactful by the raw emotion conveyed through the vocals and the underlying musical composition. This synergy allows the listener to deeply connect with the characters' experiences, fostering a powerful sense of empathy.8 The vocal performances are not just technically proficient; they are crucial conduits for the musical's emotional depth and narrative complexity. The portrayal of Poseidon, for example, utilizes vocal shifts to underscore the god's escalating vengeance and psychological instability, transforming him into a more terrifying and compelling antagonist. Similarly, Penelope's raw emotion in her final songs conveys the profound weight of her two-decade wait and unwavering love, enabling the audience to imagine themselves in the same position and fostering deep connection.8

Highlighting Key Musical Moments and Fan Favorites

The musical encompasses an impressive forty songs spread across its nine concept albums, or sagas 8, culminating in a nearly two-and-a-half-hour emotional rollercoaster.8 Popular tracks, as indicated by streaming data and audience reception, include "Wouldn't You Like," "Just a Man," "Hold Them Down," "Love in Paradise," and "Warrior of the Mind".14 Other fan favorites and highlights, as identified by the creator himself, include "Open Arms," praised for its moments of levity that later acquire profound emotional weight, "There Are Other Ways" for its musical uniqueness, "Little Wolf," and the meticulously crafted "Storm".10 Songs associated with powerful figures like Poseidon and Hermes are also frequently singled out for their significant impact.10 The final "Ithaca Saga" provides a beautiful and fitting conclusion, masterfully weaving the entire narrative together through continuous callbacks to previous sagas via score and song. This intricate design allows listeners to draw deep connections and appreciate the complex tapestry of the musical's journey.8

Table 1: "Epic The Musical" Sagas and Featured Songs

This table provides a structured overview of the musical's progression, aligning specific songs with their narrative "sagas." It helps listeners understand the chronological flow of the story within the musical's unique episodic release format, which is crucial for a comprehensive understanding of the work. It also highlights the sheer volume and thematic grouping of the musical's impressive tracklist, serving as a guide to its musical landscape.

Saga Name

Act

Key Songs (Examples)

Thematic Focus/Brief Description

Troy Saga

Act 1

The Horse and the Infant, Just a Man, Full Speed Ahead, Warrior of the Mind

Odysseus's final moments at Troy, the difficult choice to commit infanticide, setting his path.

Cyclops Saga

Act 1

Open Arms, Polyphemus, Survive

Encounter with the Cyclops, loss of Polities, Odysseus's cunning and "mercy."

Ocean Saga

Act 1

Remember Them, My Goodbye, Storm, Luck Runs Out, Ruthlessness

Divine punishment from Poseidon, crew's demise, Odysseus's growing ruthlessness.

Circe Saga

Act 1

Keep Your Friends Close, Puppeteer, Wouldn't You Like, Done For, There Are Other Ways

Encounter with Circe, Hermes' intervention, themes of control and persuasion.

Underworld Saga

Act 1

The Underworld, No Longer You, Monster, Suffering, Different Beast

Odysseus's journey to the land of the dead, confronting inner demons, shedding remorse.

Thunder Saga

Act 2

Scylla, Mutiny, Thunder Bringer

Sirens, Scylla, crew's betrayal and death, Odysseus's ultimate survival.

Wisdom Saga

Act 2

Legendary, Little Wolf, We'll Be Fine, Love in Paradise, God Games

Telemachus's journey, Athena's intervention, Odysseus's captivity with Calypso, divine politics.

Vengeance Saga

Act 2

Not Sorry for Loving You, Dangerous, Charybdis, Get in the Water, Six Hundred Strike

Odysseus's escape from Calypso, confrontation with Charybdis, brutal defeat of Poseidon.

Ithaca Saga

Act 2

The Challenge, Hold Them Down, Odysseus, I Can't Help But Wonder, Would You Still Love Me

Penelope's test, the suitors' brutal demise, Odysseus's reunion with Telemachus and Penelope.

Note: Song lists are illustrative and may not be exhaustive for each saga.

III. Reimagining the Myth: Creative Departures from Homer's Odyssey

The Core Narrative: Shared Foundations and Enduring Themes

At its fundamental core, "Epic The Musical" remains deeply anchored in the foundational narrative of Homer's Odyssey. Both works chronicle the heroic king Odysseus and his arduous ten-year journey back to Ithaca following the Trojan War. They depict his encounters with a succession of mythical perils and his eventual triumphant return to reclaim his kingdom and family.1 Furthermore, both narratives explore shared, timeless themes that resonate across civilizations, including the profound desire for homecoming (

nostos), the trials and tribulations inherent in wandering, the paramount importance of loyalty—especially within familial bonds—and the ultimate triumph of justice.1 Both also delve into the complex transition a warrior must undergo, from a life defined by warfare back to the responsibilities of domesticity and kingship.3

Odysseus's Transformed Heroism: A Deeper Exploration of Moral Ambiguity

Homeric Odysseus: In Homer's epic, Odysseus is primarily depicted as a cunning, resourceful, and often audacious hero, whose actions are largely driven by his nostos and his ambition to reclaim his identity as a husband, father, and king.1 While he possesses certain flaws, such as his taunting of Polyphemus or his men's recklessness with Helios's sacred cattle, his deeds are generally framed within a classical heroic context. His retribution against the suitors, for instance, is portrayed as a justified restoration of order and divine justice.1 Significantly, the Homeric narrative does not include any act of infanticide, nor does it depict him physically assaulting a god.

"Epic" Odysseus: The musical presents a markedly darker, more morally complex, and psychologically scarred Odysseus. His journey commences with a profound and disturbing act of violence: the forced killing of the infant son of Troy's Prince Hector, a deed compelled by a "vision" from Zeus.15 This pre-emptive, morally compromising act immediately establishes the grittier tone of "Epic" and highlights Odysseus's internal conflict, setting the stage for his gradual transformation into what he fears might be a "monster".15 His decision to show "mercy" towards the Cyclops, by blinding him rather than killing him, is ironically punished by Poseidon precisely for

not killing him, a direct inversion of the conventional Homeric portrayal of divine justice.15 This unique twist serves as a powerful catalyst, arguably fueling Odysseus's later embrace of extreme ruthlessness. By the Underworld Saga, Odysseus consciously sheds all remorse, his focus narrowed solely on returning to his family, indicating a profound psychological hardening.15 The Vengeance Saga culminates in a shocking and monumental departure from the original myth: Odysseus brutally beats Poseidon with his own trident until the god yields.15 This unprecedented display of mortal power over a deity symbolizes Odysseus's complete embrace of "ruthlessness" as a form of "mercy upon ourselves," a philosophy Poseidon himself suggests.16 His eventual return to Ithaca is characterized by the brutal, unflinching slaughter of the unarmed suitors, with no mercy shown.15 This visceral act is immediately followed by his poignant confession to Penelope that he is "no longer the kind man she knew" 15, underscoring the profound psychological cost of his journey and survival.

Significant Narrative Innovations and Their Artistic Impact

The most striking and impactful departure in "Epic The Musical" is the depiction of Odysseus's forced infanticide of Hector's son.15 This morally compromising act, entirely absent in the original epic, immediately establishes the musical's darker tone and Odysseus's internal struggle, setting the emotional and ethical stakes for his subsequent transformation.

Polities, presented as Odysseus's "bestie," is afforded a more prominent and symbolic role as a voice for kindness, famously articulating that "Kindness is brave".15 His tragic death at the hands of the Cyclops 15 serves as a profound personal loss for Odysseus, potentially hardening his resolve and propelling him further along his ruthless path.

The musical introduces heightened divine challenges and interventions, portraying the gods as more volatile, arbitrary, and even cruel forces. Zeus's direct manipulation of Odysseus through the vision of the infant Hector, and his violent punishment of Athena—striking her with lightning for daring to defy him—amplify the stakes and Odysseus's suffering, making his journey feel even more insurmountable.15 This recontextualizes the notion of divine justice; in Homer, divine retribution often serves a moral or cosmic order, as seen with Helios's cattle.3 In "Epic," however, divine actions, such as Zeus's vision or Poseidon's inverted punishment, appear designed to compel Odysseus into a path of brutality, suggesting his "monstrous" transformation is less a personal failing and more a consequence of divine tyranny. This amplifies the exploration of fate versus free will, implying Odysseus's agency is exercised within a divinely imposed, brutal framework. Athena's character is deepened by her expressed guilt for not having helped Odysseus sufficiently, leading to her active friendship and mentorship of Telemachus 15, which provides a different dynamic of divine aid. Calypso's portrayal is also expanded, with her attempts to force Odysseus into marriage, triggering his PTSD, and her later vulnerable apology 15, adding complex layers to their relationship. The direct, physical confrontation and ultimate defeat of Poseidon by Odysseus 15 represents a monumental deviation. This symbolizes Odysseus's ultimate triumph over relentless divine opposition, even if achieved through an act of extreme, almost god-like, violence. This act of conquering divine power, albeit at profound personal cost, elevates Odysseus's struggle from merely surviving divine wrath to actively overcoming it, offering a more modern, existential interpretation of heroism.

Telemachus is portrayed as a "literal ball of sunshine" 15 who actively seeks his father and bravely fights against Antinous with Athena's assistance.15 His character arc emphasizes his growth into a capable and decisive leader, culminating in a tender and affirming reunion with his father.15 The musical's depiction of the suitors' demise is visceral and unflinching, emphasizing Odysseus's utter lack of mercy.15 This brutal portrayal contrasts with Homer's more classical depiction of justified retribution, highlighting the musical's exploration of vengeance and its psychological impact.

Thematic Evolution: How "Epic" Re-emphasizes Themes

The theme of transformation and loss of innocence is paramount in "Epic," meticulously charting Odysseus's profound psychological journey from a "kind and gentle husband" to a hardened, brutal survivor.15 It poignantly asks whether an individual can truly return to their former self after enduring such traumatic experiences. The musical explicitly explores the dichotomy of mercy versus vengeance and ruthlessness through character dialogues, such as Polities advocating for kindness and Poseidon for ruthlessness, culminating in Odysseus's ultimate actions. His decision to show no mercy to Poseidon or the suitors reflects a hard-won, albeit grim, lesson on survival in a cruel world.15 This portrayal of Odysseus is a deliberate departure from the classical ideal, reflecting a modern sensibility that acknowledges the psychological scars of war and the moral compromises often necessary for survival. The musical suggests that true heroism in a brutal world might necessitate embracing a degree of "ruthlessness," as Poseidon argues, stating, "Ruthlessness is mercy upon ourselves".16 This makes Odysseus a more complex, relatable, and perhaps tragic figure for contemporary audiences accustomed to anti-heroes and morally ambiguous protagonists. The contrast between Polities' assertion that "kindness is brave" and Poseidon's counter-argument that "ruthlessness is mercy" 16 is not merely a thematic debate but represents a core conflict within Odysseus's own psyche. His eventual embrace of ruthlessness is presented as a necessary, albeit painful, evolution for his survival and homecoming, rather than a simple moral failing. This deepens the musical's exploration of the "Nature of Heroism" 15, suggesting that the exceptional quality of the musical lies in its unflinching portrayal of this difficult truth. "Epic" boldly challenges traditional heroic ideals, presenting a protagonist who commits morally ambiguous and even monstrous acts to achieve his ultimate goal. This raises profound questions about the true cost of survival and the definition of a "hero" in a brutal and unforgiving world.15

Table 2: Comparative Narrative Points: Epic The Musical vs. Homer's Odyssey

This table highlights key differences and similarities between "Epic The Musical" and Homer's original Odyssey, illustrating how the musical's creative adaptations serve to deepen its thematic resonance and impact.

Narrative Point/Character/Theme

Homer's Odyssey (Brief Description)

Epic The Musical (Brief Description)

Artistic Impact/Significance of "Epic"'s Change

Odysseus's First Act of Violence

Odysseus is a cunning warrior, but no act of infanticide is depicted. His actions are generally heroic and justified. 1

Odysseus is forced by Zeus's vision to kill Hector's infant son, setting him on a path of becoming a "monster." 15

Establishes a darker, more morally ambiguous Odysseus from the outset, immediately raising the stakes and exploring the psychological cost of war and survival.

Punishment for Cyclops

Poseidon punishes Odysseus for blinding his son, Polyphemus. 1

Poseidon punishes Odysseus for not killing the Cyclops, viewing blinding as a weak act of "mercy." 15

Inverts divine justice, making Poseidon's vengeance more arbitrary and cruel, pushing Odysseus further towards ruthlessness as a necessary survival mechanism.

Divine Interventions/Gods' Nature

Gods (e.g., Athena) often assist heroes or ensure cosmic order; Zeus is powerful but generally upholds a form of justice. 1

Gods are more capricious and tyrannical; Zeus strikes Athena for defying him; Poseidon is brutally defeated by Odysseus. 15

Portrays gods as more fallible and cruel, highlighting human agency in overcoming seemingly insurmountable divine opposition, and questioning traditional divine authority.

Odysseus's Transformation

Returns as a re-established king and father, reclaiming his identity. His warrior skills are reasserted. 1

Becomes a hardened, remorseless survivor; confesses to Penelope he is "no longer the kind man she knew." 15

Emphasizes the profound psychological toll of his journey, exploring themes of lost innocence and the irreversible changes wrought by trauma, making him a more complex and tragic modern hero.

Role of Polities

A loyal crewmate, but not a central moral compass.

Odysseus's "bestie" and a voice for kindness ("Kindness is brave"), whose death is a significant emotional blow. 15

Provides a clear moral counterpoint to Odysseus's increasing ruthlessness, making Odysseus's choices and transformation more poignant and impactful.

Confrontation with Poseidon

Odysseus is constantly tormented by Poseidon's wrath but does not physically defeat him. 1

Odysseus directly confronts and brutally beats Poseidon with his own trident until the god yields. 15

Symbolizes Odysseus's ultimate triumph over divine opposition through extreme, almost god-like, violence, representing a complete embrace of self-preservation and a rejection of arbitrary divine power.

Slaughter of Suitors

Depicted as justified retribution, restoring order. 1

Portrayed with visceral brutality, emphasizing Odysseus's lack of mercy towards unarmed men. 15

Highlights the depths of Odysseus's transformation into a ruthless killer, underscoring the theme of vengeance and its psychological cost.

Themes of Mercy vs. Vengeance

Vengeance is often presented as a form of justice.

Explicitly debated (Polities vs. Poseidon); Odysseus ultimately chooses ruthless vengeance. 15

Explores the moral ambiguity of survival and the difficult choices heroes must make, questioning whether ruthlessness can be a form of self-preservation.

IV. The Enduring Appeal: Why "Epic The Musical" is "Very Very Good"

Accessibility and Community: Bridging Classical Lore with Modern Audiences

"Epic The Musical" has fundamentally revolutionized accessibility in the arts by being developed and released primarily on online music platforms and social media, most notably TikTok.7 This innovative approach allowed it to captivate a massive global audience, effectively bypassing the traditional geographical or financial barriers typically associated with live stage productions.7 This success demonstrates a significant shift, indicating that a musical's impact and success are no longer solely dependent on live stage performances. Its digital-native format facilitates global reach and fosters innovative fan engagement, such as the creation of animatics and vibrant online discussions, cultivating a more interactive and accessible theatrical experience. This challenges the conventional definition of "musical theatre" and opens new avenues for future productions to leverage digital spaces as their primary medium.

The musical actively cultivates a strong and deeply engaged community, with fans creating hundreds of animatics—animated storyboards—and passionately engaging with character designs and visual elements, thereby transcending the music alone.7 Jorge Rivera-Herrans' commendable transparency about the creative process, meticulously documenting ideas, edits, and rewrites on TikTok, further deepened this unique connection, making the audience feel like integral participants in the musical's journey.8 Its distinct inspiration from video games 7 and the episodic release of sagas 7 cleverly resonate with modern media consumption habits, rendering the ancient story remarkably fresh, relatable, and inherently engaging for contemporary listeners. The success of "Epic" suggests a strong demand for high-quality narrative content that blends traditional storytelling with modern digital aesthetics and participatory culture. Its accessibility is not merely a feature but a core reason for its exceptional quality, proving that breaking down industry barriers can lead to broader artistic appreciation and impact, potentially inspiring a new wave of digital-first creators.

Emotional Depth and Relatability: Humanizing the Mythic Journey

Despite its grand, mythic scope, "Epic The Musical" profoundly succeeds in humanizing its characters, particularly Odysseus. His complex transformation from a "kind and gentle husband" to a hardened, brutal survivor grappling with his changed identity 15 creates a deeply relatable arc that explores the profound psychological toll of trauma and the difficult compromises necessary for survival. The musical's masterful ability to craft "soul-crushingly beautiful ballads" alongside "adrenaline-fueled songs" 7 allows for an extraordinary range of emotional expression. This spectrum ranges from the moments of levity and innocence found in "Open Arms" 10 to the visceral "gut-punch" delivered in "The Underworld" 11, and the "heart-wrenching" depiction of unwavering devotion in "The Ithaca Saga".8 The consistent use of distinct instrumental motifs for characters 5 and the powerful, world-class vocal performances 7 further enhance this emotional connection, allowing listeners to deeply empathize with the characters' struggles, triumphs, and profound internal conflicts.

The Power of Adaptation: A Testament to Timeless Storytelling

"Epic The Musical" stands as a powerful testament to the enduring adaptability of The Odyssey as a narrative that can be reinterpreted to speak directly to contemporary concerns. Its perceived "inaccuracies" are not flaws but rather deliberate and sophisticated artistic choices that deepen the exploration of modern themes such as moral ambiguity, the nature of power, and the psychological impact of violence in a way that profoundly resonates with 21st-century audiences. This reinterpretation ensures the ancient myth's continued relevance by addressing complex ethical questions pertinent to the modern era. The musical's success lies significantly in its remarkable ability to make the complex world of Greek mythology "easy to understand" 5 through "simple, yet imaginative storytelling".5 It effectively conveys its core themes of "bravery, friendship, and perseverance" 5 while simultaneously delving into darker, more complex aspects of the human condition with unflinching honesty. The musical's ability to simplify Greek mythology without sacrificing depth, while simultaneously introducing profound moral complexities, highlights its mastery of adaptation.5 This demonstrates that a truly exceptional adaptation is not about strict fidelity but about capturing the spirit of the original while fearlessly exploring new dimensions that speak to its current audience, thereby extending the myth's timeless appeal and demonstrating the enduring power of myth to evolve with human understanding. Ultimately, "Epic" is truly a "beautiful piece of artwork" 8 that brings "The Odyssey" to life in a new and compelling way, proving that classic stories can be reimagined to achieve profound "emotional depth and narrative complexity" 6 for new generations, thereby solidifying its status as exceptionally good.

V. Conclusion: A Legendary Achievement

"Epic The Musical" stands as a monumental achievement in modern adaptation, seamlessly blending the timeless allure of classical mythology with contemporary musical forms and groundbreaking digital accessibility. Its profound success is rooted in Jorge Rivera-Herrans' masterful composition 7, the world-class vocal talent of its exceptional cast 11, and its remarkable ability to evoke deep emotional resonance in its listeners. The musical's innovative approach to production and distribution via online platforms has fundamentally redefined accessibility in theatre, fostering a vibrant and deeply engaged global community.7

The creative liberties taken by "Epic," particularly in its darker, more morally complex portrayal of Odysseus and its heightened, often brutal, divine conflicts, are not deviations to be critiqued as "inaccuracies." Rather, they are sophisticated and deliberate narrative choices that profoundly deepen the exploration of universal themes such as transformation, the nature of vengeance, and the true, often harrowing, cost of heroism.15 These bold reinterpretations allow the ancient tale to resonate with unparalleled power with modern audiences, offering a nuanced and challenging perspective on timeless human struggles. The musical's undeniable ability to evoke strong emotions and prompt reflection on complex moral dilemmas unequivocally solidifies its exceptional artistic merit.6

While "Epic The Musical" has concluded its initial concept album run, culminating in December 2024 7, its profound impact and burgeoning legacy are far from over. Ongoing discussions and plans for animated movies, live-action stage shows, and even video games 7 indicate a promising and expansive future for the franchise, demonstrating its immense potential across various media. This trajectory from concept album to potential multi-platform franchise solidifies its status as a successful proof-of-concept for digital-first theatrical productions. It provides a blueprint for how artists can leverage online platforms to build a massive, engaged fanbase

before traditional theatrical or cinematic adaptations, significantly de-risking future investments and demonstrating a new pathway for intellectual property development in the arts. Its legacy will undoubtedly be defined by its pioneering role in digital theatre, its masterful musical storytelling, and its unparalleled ability to keep classical myths alive, relevant, and deeply compelling for new generations, proving emphatically that a story can be exceptionally good by daring to be different and by fearlessly embracing the complexities of the human condition.

#musical #epic the musical #odysseus #the odyssey #jorge rivera herrans

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thisistheworldofgays · 14 days ago

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i feel like nobody but me sometimes understands + sees how a lot of stuff that tries to "look retro" just cant get the look down because its trying too hard. its like that "tries to do away with it but lives it constantly via inversion" type of concept here. if you want to make a game that looks retro to the era you want it to be, you need to immerse yourself in what came before it, use the programs of the era, and not "try to make something old" but "try to make something good, with old things."

games in 2002 were not trying to 'make games that look like theyre from 2002' they were trying to make a game that was good. youll make a lot more progress on this just by simply using an old as fuck copy of gimp and not using whatever copy of unreal came out most recently or whatever. the answer is ALWAYS going to be restriction.

i feel this way about 'sparklefur' artists and such too. usually, trying WAY too hard and thus making something that is distinctly modern. instead, if you just take the time to indulge in the art of the period, inspiration of the period, and limit yourself accordingly, youre more likely to make something that looks way, way more convincing.

stop trying to make something that 'looks nostalgic' when youre trying to make something 'look genuine', nostalgia is not genuine.

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whencyclopedia · 8 months ago

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Egyptian Medical Treatments

The ancient Egyptians experienced the same wide array of disease that people do in the present day, but unlike most people in the modern era, they attributed the experience to supernatural causes. The common cold, for example, was prevalent, but one's symptoms would not have been treated with medicine and bed rest, or not these alone, but with magical spells and incantations. The Ebers Papyrus (dated to c. 1550 BCE), the longest and most complete medical text extant, clearly expresses the Egyptian view of medical treatment: "Magic is effective together with medicine. Medicine is effective together with magic." The magic referred to took the form of spells, incantations, and rituals, which called on higher supernatural powers to cure the patient or treat symptoms.

Heka was the god of magic and also of medicine, but there were a number of deities called upon for different diseases. Serket (Selket) was invoked for the bite of the scorpion. Sekhmet was called upon for a variety of medical problems. Nefertum would be appealed to in administering aroma therapy. Bes and Tawreret protected pregnant women and children. Sobek would intervene in surgeries. One could call upon any god for help, however, and Isis and Hathor were also invoked, as was the demon-god Pazuzu. Even Set, a god associated with chaos and discord, sometimes appears in magic spells because of his protective qualities and great strength. All of these deities, however, no matter how powerful, had to be called by an experienced practitioner and this was the doctor of ancient Egypt; part magician, part priest, and part physician.

Injury & Disease

Physical injury was common in a culture which not only engaged in monumental building projects but had to contend with wild animal attacks from lions, hippos, jackals, and others. Injuries were easily recognized and treated in much the same way they would be today: bandages, splints, and casts. Since the Egyptians had no concept of bacteria or the germ theory, however, the cause of the disease was less clear. The gods were thought to mean only the best for the people of the land, and so the cause of a disease like cancer was as mysterious to the ancient Egyptians as the origin of evil and suffering is for religiously-minded people in the present.

The most common reasons for disease were thought to be sin, evil spirits, an angry ghost, or the will of the gods to teach someone an important lesson. Although the embalmers who dissected the bodies at death were aware of the internal organs and their relationship with each other spatially in the body's cavity, they did not share this information with doctors, and doctors did not consult with embalmers; the two professions were considered distinctly different with nothing of note to contribute to each other.

Doctors were aware that the heart was a pump and that veins and arteries supplied blood to the body, but they did not know how. They were aware of liver disease but not the function of the liver. The brain was considered a useless organ; all thought, feeling, one's character, was believed to come from the heart. A woman's uterus was believed to be a free-floating organ which could affect every other part of the body. Still, although their understanding of physiology was limited, Egyptian physicians seem to have been quite successful in treating their patients and were highly regarded by other cultures.

#History #1550BCE #98 #AlisonRoberts #WHE #[#]

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quitealotofsodapop · 30 days ago

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Just watched a really good theory video on the concept that; Arceus initially created not just the Creation Trio (Dialga, Palkia, & Giratina), but also Unova's Original Dragon that broke apart into Reshiram, Zekrom, and Kyurem.

Link to video here.

The theory goes; that while the known Trio represent forms of Matter (Dialga = Solid, Palkia = Liquid, Giratina = Gas + Distorted Form = Antimatter), there isn't a Legendary that represents Plasma aka Pure Energy.

Except for perhaps a Legendary Dragon made of pure Thermal (Reshiram) & Electric ( Zekrom) energy, held together by Absolute Zero (Kyurem).

The idea goes deeper. As the boxart legendaries represent the concept of Tao/Dao and the balance of Energy, whilst also representing the Tria Prima alchemical principles (Sulphur, Mercury & Salt).

In the postgame of B2&W2; the Lake Guardians Uxie, Mesprit, and Azelf seemingly spread out across Unova, looking for something (or someone...). They appear in The Cave of Being where; "They say the deepest part of the cave leads to the Sinnoh region." Which is nuts, but considering that burrowing pokemon are a thing, I'm not discounting it.

Further more, there's the fact that the Dark & Light Stone has an unused variant called the God Stone, which hints at either a scraped "Pokemon Grey" or the possibility that the separation of the Original Dragon also separated it's artifact and perhaps even the very universes that held them. The Tao Trio can only canonically form into a fractured 2/3rds of the Original no matter what game is played.

It would be very fitting that the Dragon of Energy experienced a severe case of Entropy and became broken. Chaos increases with Energy and vice versa after all. The world of Black and White i so split, that the very movie based on them has two separate versions.

This made me think of a certain character who's been isekai'd into another timeline/universe of the pokemon world, and his possible connection to this mess.

What's Ingo doing here?

Easy.

Roughly 3000 years prior to the main story; The Original Dragon broke apart in response to its masters clashing over Ideals vs Truths. Reshiram and Zekrom were formed basically to act as champions for the respective brothers, and Kyurem was the remnants. And although the brothers eventually saw eye-to-eye, the two dragons didn't - and thus had to be sealed away into their correlating Stones to prevent further destruction of Unova. The Twin Heroes then separated and created their own respective Kingdoms; which in the modern era only remain as the Relic Castle and Abyssal Ruins.

The Subway Master twins are heavily tied to the symbolism of the Twin Heroes - representing a positive balance as opposed to the original brother's in-fighting. Yin Yang twins in the most literal sense.

What if during the events after Black & White 2 - the Submas twins were mistaken for one of the very same Heroes that broke the Original Dragon? What if the Lake Guardians were looking for a specific pair of people?

Perhaps by a creator deity known in the extended Pokemon universe for holding a grudge, and confuses humans for one another?

Arceus: "WHERE ARE THEY!?" Uxie, Mesprit, Azelf: "Dead, we've told you this." "Humans don't typically live thousands of years." Arceus: "INCORRECT. A MAN IN KALOS PROVES OTHERWISE."

Ingo is dragged into another universe, one distinctly more "broken" (i.e Legends Arceus's Hisui) as "punishment" for breaking the Original Dragon. Becoming the recipient of revenge by a God that deems him the cause of the Entropy. Whether he is meant to "fix it" is up to interpretation.

Emmet is either back in the original timeline, or has been displaced in the same manner as his brother. We may learn more in the upcoming Legends AZ.

#others videos #pokemon theories #pmkn #pokemon #submas #subway master ingo #subway master emmet #unova #pkmn aus

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chasingshadowsblog · 10 months ago

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"I've seen suffering in the darkness. Yet I have seen beauty thrive in the most fragile of places." - History, Culture and Identity in Cartoon Saloon's Irish Mythology Trilogy

Written accounts of Irish history and culture only begin to appear from the 5th century onwards and what came before we are left to piece together from archaeological remains whose meanings and motivations we can only guess at. What is clear, though, is that during that broad stretch of time between the Early Mesolithic and Late Iron Age, a distinctly Irish identity had been established and developed on by the craftsmen, artists, hunters, foragers, farmers and warriors that populated the country, through their housing, weaponry, metalworks and stone monuments. The development of the Christian church throughout the Early Medieval period brought its own beauty to the art and architecture of the country, but also adapted its culture to suit the needs of an integrating religion and sites and ceremonies of pagan worship were amalgamated into the Christian calendar. Following this were Viking raids, Anglo-Norman settlement, English conquest, plantation, oppression, rebellion, famine and civil war. From the Early Medieval period to the present day Ireland has experienced an almost constant shift in leadership and identity with little time in between for the dust to settle. Culturally, a "Celtic Revival" in the late 19th and early 20th centuries sought to re-invigorate the arts and history of Celtic Ireland (a broad, problematic concept in itself) as an expression of nationalism and to bolster a distinctly Irish artistic and literary identity.

All of this is to say that wading through Ireland's history of social upheaval, religious and political conflict, and loss and confusion of identity is no mean feat. To take those threads and conjure up original stories for modern audiences, embracing the suffering and celebrating the beauty, is impressive. To do it three times is witchcraft.

In their films depicting Irish history, culture and mythology, animation studio Cartoon Saloon have approached their stories with a respect for the past, both fact and fiction. By evoking the artwork, legends and real history of Ireland's past and combining it with their own fresh, unique visual style, Cartoon Saloon brings some much needed authenticity and vibrancy to the depiction of Ireland in mainstream culture. Absent are the twee figures of backwards island folk or the commercialised idolatry of a St. Patrick's Day parade. What we get instead is something more personal, recognisable on the surface to every child and adult who learned about Fionn, the Fianna and fairy circles in primary school and with nuggets of information and visual cues for explorers of Ireland's broader history.

"I can't tell you which parts of this story are true and which parts are shrouded by the mists." - The Secret of Kells and the line between history and mythology

Set roughly in the 9th century AD The Secret of Kells is the earliest depiction of Irish culture in the trilogy, a period which saw the continued integration of Christianity into the country alongside traditional pagan practices and festivals, a relatively soft conversion compared to later events. Although the main character, Brendan, comes from a Christian monastery and carries those beliefs, The Secret of Kells does well to capture this balance between a new religion and old beliefs with the inclusion of Aisling and Crom Cruach, who live alongside the monastery and influence the story as much as Brendan and the brothers do and whenever Brendan is punished by Abbot Ceallach it is for disobedience not a lack of faith.

"It is with the strength of our walls that they will come to trust the strength of our faith." Abbot Ceallach's fierce desire to build a wall around the monastery is fueled mostly by the threat of Viking raids, but it is his hope as well that the protection they offer will encourage the faith of the natives and draw them behind those walls. Abbot Ceallach finds comfort and safety in his monastery and danger and violence outside of its walls, so, not only does the wall protect them from invaders but it also cuts them off from the forest beyond - the domain of shape-shifters, wild animals and pagan temples, a world which Brendan can only glimpse through a crack in the wall. A staple of the entire trilogy is this depiction of wilderness in some form and its association with Ireland's symbolic wilderness and pagan ancestry. What sets it apart from the threat of Vikings is that, in spite of its wildness, it poses no threat to their way of life. When Brendan enters the forest for the first time it is dark and frightening until Aisling, an ethereal Sídhe figure who can shape-shift into a wolf, shows him how to navigate it and suddenly the forest grows bright and beautfiul, Brendan's fear is eliminated and Aisling becomes his friend.

Hidden throughout Brendan's trek in the forest are old, moss covered ogham stones and stone circles, allusions to native practices, but deeper in, the colour palette changes from bright greens and natural browns to a wash of dark greys and black when Brendan stumbles across a temple to Crom Cruach (a deity who, in Irish mythology, is eventually destroyed by St. Patrick). Aisling tries to warn him away, "It is the cave of the Dark One," but Brendan dismisses her worries, "The abbot says that's all pagan nonsense, there's no such thing as Crom Cruach." At the sounding of the deity's name, black tendrils emit from the cave and pull on Aisling as she stops them reaching Brendan. Later, Brendan returns to the cave to steal Crom's eye - a magnifying crystal that will help Brendan and Brother Aidan with their illumination. In a beautifully animated sequence Brendan battles Crom Cruach in his cave by trapping him in a chalk circle and stealing his eye. Crom Cruach is depicted as a never-ending snake (in a geometric pattern similar to both pre-Christian art and the knotwork of Christian manuscripts) possibly in reference to the 'snakes' banished from Ireland by St. Patrick. What's most fascinating about this sequence is that Brendan experiences it at all. Although the experience is supernatural it is never implied as anything other than real. Brendan is a committed monk in training who will spend his life in service to the monastery; even after meeting Aisling and battling Crom Cruach he never questions his faith or his elders and when he returns to the monastery with the eye no one disputes the story of how he came by it, "You entered one of the Dark One's caves?" At this time, at the edge of a growing monastery and with a direct reference to the abbot's desire to convert the natives, there is still space for pagan ideas to exist. Similarly, Aisling using Pangur Bán's spirit to free Brendan has an effect on the real world. There's an argument to be made that this is a film and anything can happen, but for problems to be solved by magic, the way Aisling frees Brendan, firm world-building rules must be established and in this world, 9th century Ireland, spaces exist in which otherworldly figures reside and actions beyond the mortal realm occur, and these spaces exist alongside the film's version of civilisation.

"I have lived through all the ages, through the eyes of salmon, deer and wolf." As an animated feature, there is a lot the film can tell us through visuals alone, and The Secret of Kells does a wonderful job capturing an Ireland in transition. The prologue opens with a close-up image of the Eye of Crom with abstract shapes swimming around it, followed by a glimpse of Aisling hiding in a tree as she narrates over these images in an eery whisper. Following these we see a salmon, deer and wolf, three animals important to Irish mythology, identity and history; the salmon, related to The Salmon of Knowledge, represents mythology, the deer is the national animal of Ireland, and wolves (in the world of Cartoon Saloon) represent its wildernes and history (the elimination of the wolf population became more active in Ireland during times of English occupancy, a theme that is explored more deeply in Wolfwalkers). Even the waves crashing around Iona as Brother Aidan escapes morph into wolves, futhering their symbolism as something wild and dangerous, but natural and not actively destructive like the Viking raiders. The monastery is littered with Iron Age motifs existing alongside Early Christian imagery. Spiral motifs occur in trees and plants, in the ropes that bind the wall's scaffolding together, and circular, semi-circular and zig-zag shapes continue to appear with knot-work patterns and religious figures - even the snowflakes falling during the raid are strands of knot-work. The monastery itself is accurate to the period with its round tower, beehive shaped structures (called clochán) and the town growing around it, while outside its walls Brendan crosses a stone circle. We even see a game of hurling, the ultimate unifying bridge between pagan and modern Ireland. The walls of the abbot's cell are covered in his own drawings of plans for the monastery's construction. These are exquisitely detailed and clearly a plan for the future but drawn in a style that cannot escape the past. Zig-zags, spirals, circles, semi-circles, dots, triangles, sun and star motifs and something that looks like an alignment chart - the style is evocative of Neolithic and Bronze Age art and the insular La Tène style that preceded the arrival of the monks in Ireland, all styles that combined the abstract and geometric, seemingly random, but clearly symbolising something greater.

"You must bring the book to the people." In their last interaction as children Aisling helps Brendan recover the pages of his manuscript as he flees the Vikings. In this gesture Aisling aids Brendan on his religious journey - during the montage later on she even guides him home. Faith never comes between these two - it doesn't need to since Aisling's existence and her convictions are as real and strong as Brendan's. Their relationship is one of mutual curiosity and sharing their differences. In Irish mythology, female figures (particularly shape-shifting ones) are often symbolic of Ireland itself and to have the support of these figures is, for kings and heroes, a mark of validation. At this time, these two worlds still live alongside each other and Aisling is allowed to support Brendan's work as a monk while maintaining her own natural way of life, while Brendan can learn about pagan concepts from Aisling without wavering from his faith or trying to mould her to his. Although Brendan's final journey home shows the spread of Christianity across the country we get one final image of Aisling, changed to her human form in a flash of lightning, that shows us while she might be hiding she hasn't disappeared just yet, while Brendan, now an adult, returns to Kells, committed to continuing Abbot Ceallach's work.

"This wild land must be civilised" - Wolfwalkers and the taming of Ireland

Set in 1650, Wolfwalkers occurs roughly 800 years after The Secret of Kells and presents a vastly different universe. The monks' Christianisation of the natives was a far more gentle affair and one founded in a desire to educate and adapt. Ireland under the Lord Ruler (a stand-in for Oliver Cromwell) is a world of service, punishment and fear. By chopping down trees and employing hunters to cull the wolf population the Lord Ruler is attempting to tame the countryside and, most importantly, the people themselves. References to "the old king" and "revolt in the south" place us, historically and politically, in the Cromwellian Conquest, when Cromwell was sent to Ireland to quell uprisings against the newly established English Commonwealth. Heavy stuff and this is a simplification of a period of major conflict in Ireland but Wolfwalkers successfully impresses on us the feeling of living under the thumb of an active oppressor on a personal scale. The Lord Ruler wants the people of Kilkenny afraid and complacent so that they support his efforts to cull the wolves and cut down their forests. Unlike Abbot Ceallach who fears a real threat in the Vikings, the Lord Ruler fabricates a threat in the wilderness beyond the city walls in order to bend people to his will, "Oh, lass. Lord Protector has strict rules." Although the wolves pose no threat to the city, people have been made to fear them, resulting in the loss of their connection to the forest outside the town walls. One character even says that the wolves are attacking them because they've been chopping trees down, because they've been going against their ancient pacts: "

"This once wild creature is now tamed, obedient, a mere faithful servant." Although this line is spoken in reference to Moll, held captive in a cage in her wolf form, it is the human characters who suffer the most from this ideology - even the nameless background characters are confined to the walls of the city in fear of punishment, "Lord Protector put my father in chains for nothing." What comes to mind when hearing of tamed creatures is not Moll in her cage, who exudes strength and power even behind bars, but Robyn in her maid's uniform, once lively and imaginative, now returning home with lines under her eyes after a long day of hard, monotonous work, and Bill, quieting his daughter's eagerness in fear for what will happen to her, then later shackled at the neck and forced to march behind the Lord Ruler's horse when he disobeys, "We must do what the Lord Ruler commands". Although Moll is held captive too, it is in the form of a humongous wolf; she is locked away in the Long Hall for fear of the danger she represents. The Lord Ruler is aware of how poweful she is and so he must keep her locked up to show the people of Kilkenny just how much control he can wield, quelling any potential notions of power they might have held in themselves. And in the case of Moll, Robyn and Bill, each time they are held captive by the Lord Ruler, their captured bodies submit to the wolf form to escape, drawing on a deep-rooted strength and wildness within themselves to escape the confines of the Lord Ruler's rigid society.

"What cannot be tamed, must be destroyed." The ending of Wolfwalkers is bittersweet; Robyn, Médb and their parents are safe after defeating the Lord Ruler and his soldiers, but they are still forced to leave their forest home. "All is well," Bill and Robyn tell each other, and the family appear content, but, before now, leaving the forest was not on the agenda; leaving the forest meant retreating from a threat and this is still the case. Médb wanted to save the forest, but, after everything that's happened, the family are no longer safe on the borders of the town. Robyn, Médb, Bill and Moll might have saved each other but they can't save their home and the people still living behind the city walls - the Lord Ruler may have been killed but that doesn't mean the end of his conquest. Historically, this period saw Ireland amalgamated into the Commonwealth and Irish Catholic landowners ousted by English colonists, the diminishing of Irish customs and traditions, and a high level of deforestation and the elimination of the wolf population. The family's departure from Kilkenny allows viewers a safe, happy, narratively satisfying ending, without erasing the changing social tides that occurred at the time or ignoring the history that followed.

"Remember me in your stories and in your songs" - Song of the Sea and loss:

If Wolfwalkers is the taming of Ireland then Song of the Sea is Ireland tamed. Set roughly in the 1980s it is the closest depiction of a modern Ireland in Cartoon Saloon's ouevre. In contrast to The Secret of Kells and Wolfwalkers, which represented Ireland's native identity in the forest, here it takes the form of (drumroll) the sea, but while those other films depicted the battle between the wilderness and civilisation Song of the Sea depicts its defeat. The last of the Sídhe live in hiding in a rath disguised as the centre of a roundabout and use a sewage system to get around. In their diminshed forms, Lug, Mossy and Spud also resemble more closely what we might think of as 'fairies' in Ireland today, not the imposing figures of power the Sídhe really are in mythology. Still, Lug, Spud and Mossy wear torcs, brooches and earrings of gold - symbols of wealth and status - and strewn about their home are ogham stones and hurls; in a nice marriage of modern and ancient tradition, they play the bodhrán, fiddle and banjo, singing a version of the Irish language song 'Dúlamán'. Only in this one pocket in the middle of the city do different aspects of traditional Irish culture survive.

All throughout Song of the Sea we see iconography of modern Ireland. Conor drinks a pint of Guinness (unlabelled but unmistakable), the front of the pub he sits in is decorated in proto-typical Irish pub fashion. On the wall in Granny's house sits proudly a picture of Jesus with the Sacred Heart lamp as she warbles along to the classic Irish children's song, 'Báidín Fheilimí'. Ben and Saoirse take refuge in a shrine to a holy well with a rag tree outside that is bursting with religious iconography as well as a toy sheep - symbols that are as much a part of the national identity as those pre-historic and mythological ones. There are also references to the assimilation of pop culture outside of Ireland in a Lyle's Golden Syrup tin, the Rolling Stones poster on Conor's old bedroom door and Ben's 3-D glasses and cape, an emulation of a superhero costume. These images are, ultimately, harmless but have overtaken their native counterparts. Although we see statues of the Sídhe in the background, these are not shrines but detritus, and they lie forgotten, covered in plants and moss, in the company of bags of rubbish and old televisions. The diminishing of one era of Ireland's history to make way for a newer more powerful and modern identity is just one kind of loss that is portrayed in Song of the Sea, but each character experiences their own version throughout. The loss of Bronach that has affected Ben and Conor; the potential loss of Saoirse as she grows sicker; the loss of Mac Lir that drove Macha to such despair she literally bottled her emotions and those of others until they turned to stone. All of this comes to a climax at the end of the film when these tragedies are laid bare. As in Wolfwalkers the greater connotations of this theme are presented on a smaller scale: Ben and Conor's pain by the loss of Bronach.

Ben and Conor are representative of the human world and so suffer her absence more visibly than Saoirse who approaches her mother's world with curiosity and ease. In contrast, Ben, although he misses Bronach, rejects the sea (her home and symbolic identity) and his sister, a physical as well as spiritual reminder of what's been taken away from him. He turns his back on his past as much as he mourns its loss. We see it less obviously in Conor who wallows in his own memories and grief and tunes out Ben's references to his mother "It's as though I've been asleep all these years. I'm so sorry." Ben's grief is more expressive compared to the inwardly focused Conor and even towards the end of the film when Ben is trying to help Saoirse, Conor brushes over his insistence that only her selkie coat can save her. It's only when Saoirse is finally wearing the coat and wakes up from her sickness that he finally engages with Ben on the subject of Bronach, "She's a selkie, isn't she? Like Mam." "Yeah." (Which looks like a weak conversation written down but it's the happy smile on his face and the emotion in his voice that give the single word weight). "Please don't take her from us." During the film's final sequence, when Saoirse sings her song and wakens the sleeping Sídhe, Bronach returns but only to take Saoirse away. With tears in her eyes she begins to lead Saoirse along until Ben and Conor stop her, not forcefully but pleadingly, "she's all we have." All they have is Saoirse, all they have is a thread connecting them to Bronach's world and their memories of her.

"All of my kind must leave tonight…" As the Sídhe are wakened by Saoirse's song we watch them rise joyfully to form a glowing processional in the sky as they make the journey across the sea to their home. This scene is so beautifully animated and so filled with a sense of magic and wonder that we are charmed into believing this is a good thing. The Sídhe are returned to their noble forms and going to their home "across the sea"; they fill the sky with a warm, mystical light, but they are taking that light and their magic with them. As Bronach quotes in the film's prologue, "Come away, o human child, to the waters and the wild, with a fairy, hand in hand, for the world's more full of weeping than you can understand." This is a world that can no longer bear the force of two identities. Unlike The Secret of Kells where Brendan and Aisling were allowed to live alongside each other without compromising their beliefs or ways of living, Bronach, a spiritual being, is forced to leave, while Ben and Conor have no choice but to stay and Saoirse, who walks both worlds, is made to choose between them. Although this is a happy ending it is still being depicted on a personal level. On a grander scale, the country has lost something that isn't coming back and this is depicted as a relief for the ones leaving it behind. On the other hand, Saoirse's decision to remain shows that, in small pockets of the country, the magic can remain.

It is fitting that Song of the Sea, as a representation of modern Ireland, draws on loss; Ireland has been experiencing loss on a grand scale for centuries. Although the march of progress is mostly positive, in some cases it has altered our respect and interest in the past. Today there is a nihilism attached to Irish heritage - the spirituality that's associated with airy fairy hippies dancing naked in a moonlit field; the language that is almost universally despised by every secondary student forced to grapple with the Tuiseal Ginideach; its disappearing and continually exploited ecological landscapes; the preservation of archaeological sites in frequent battle with the progress of industry. In the interest of leaving behind the worst of our past we are at risk of losing the best. The writer Manchán Mangan suggests that this desire to forget lies in the pain we feel when we consider our history. Some, like Conor, try to push all reference to this pain out of their lives, others, like Ben, divert their pain into misplaced anger. Mangan cites the Famine as a source of generational pain and its effect today on our use of the language, but really it can be attached to many events and periods of time, "English was the future; Irish would only bring suffering and death." This is a sentiment that carries through to this day; despite encouragement from schools, local councils and the government, Irish remains a least favourite subject for most people who dismiss it as unuseful for success in the wider world. By proxy, anything to do with the notion of "Irish", the language, history and culture, is old-fashioned (suffering and death) while success and the future lie outside of the country. Mangan goes on to suggest that only by confronting the pain of our past can we unlock an ability in ourselves to engage more fully with our identity, "We might stop blaming our failure to learn on teachers, or the education system, or Government policy, and realise that we have no difficulty learning any other subject…" Ben and Conor are given the opportunity to say goodbye to Bronach before she leaves, allowing them to carry on with their memories of her and the last strand of their connection to her as represented by Saoirse. More and more people today are looking to Ireland's past, ecology and language for whatever it is they need or want to find in life. It isn't necessary to convert to paganism and live on the shores of the Connemara coastline to achieve this connection, but actively disengaging from your past can only hurt more than it can help. In their respective stories Brendan does not compromise his beliefs but still builds a friendship with Aisling, while Robyn and Bill integrate fully into Médb and Moll's world. There is no right way to engage with this side of our history and identity, but in contrast to Ben and Conor, Brendan and Robyn have balanced and fulfilling relationships with their native counterparts. Ben and Conor were stuck in their pain over Bronach's loss and it is only after getting to see her one last time that helped them to move on and heal. Conor tells Bronach that he still loves her and he will carry that love and his memories of her througout his life as a source of joy rather than sadness; Ben lets Saoirse into his life and is able to move past his grief and fears of the sea. Here, the threat of loss and destruction comes from within and can only be treated by engaging with the past - its rich heritage and tragic history - and moving on with all of the wisdom and experience it provides. All three films in Cartoon Saloon's Irish mythology trilogy suggest that the integration of both worlds, an engagement on some level between the two, is not, perhaps, necessary to live, but is certainly recommended.

#another late post because my laptop charger broke #cartoon saloon #the secret of kells #song of the sea #wolfwalkers #irish mythology #irish movies #animated movies #animated films #animation #essays #film analysis #movie analysis #i do go on and on don't i

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