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the-hot-zone · 5 years ago

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Too Old To Play With Toys: The Sad Truth Behind Sokka's Boomerang

This is Sokka’s boomerang:

[ID: a screenshot of Sokka’s boomerang from Avatar: The Last Airbender. It has just been thrown, and it whips through the air in a rapid, whirling motion. End ID.]

And as we all know, it always comes back. This characteristic makes Sokka’s boomerang a returning boomerang, rather than a hunting boomerang. This is an important distinction to make, and it’s where the heart of this headcanon lays. Let me explain.

Accuracy: What’s the Difference Between Hunting and Throwing Boomerangs?

There are three types of boomerangs: the hunting boomerang, the returning boomerang, and the cross boomerang. We’re only going to be discussing hunting and throwing boomerangs, but feel free to learn about cross boomerangs and their construction--they’re really cool. As a general note: the following sources and information pertain to Aboriginal Australian cultures. Boomerangs were used elsewhere, but mainly as throwing sticks, not returning boomerangs.

So, hunting boomerangs, also known as throwing sticks or kylies, have this basic shape:

[ID: a black silhouette of a hunting boomerang. It is shaped like a skinny tear drop, with a slight curve along its form, and it widens asymmetrically at its ends. End ID.]

[ID: an overhead shot of three hunting boomerangs. They are carved from glossy, light-brown wood. End ID.]

Artist: Aboriginal Elder, Joe Skeen Snr. Buy here.

The hunting boomerang is straighter, larger, longer, and deadlier than the returning boomerang. “With it,” states the Britannica, “animals were maimed and killed, while in warfare it caused serious injuries and death.” This is due to its shape, which allows it to travel in a relatively straight line. With its capability for distance and force, the hunting boomerang is a very powerful tool.

According to Boomerang: Behind an Australian Icon by Philip Jones, a hunting boomerang can travel around 100 meters. If the boomerang is heavy enough, and the throw forceful enough, large prey, like kangaroos, can be killed. If you want to see a hunting boomerang in action, watch sections of this Youtube video. The range and accuracy of this tool are amazing.

The returning boomerang, which was used in eastern and western parts of Australia, is very different:

[ID: a black silhouette of a returning boomerang. It has two arms that widen towards the middle and connect, forming an angled shape, like a triangle with two sides. End ID.]

[ID: a painted returning boomerang. The base is formed from a smooth, light-colored wood. Designs are painted at the end of its wings, in the middle of its wings, and towards its center. At the center is a stylized turtle. End ID.]

Artist: unknown, but sold by Aboriginal-owned business Murra Wolka. Website here.

As you can see, the returning boomerang is shorter, smaller, and angled sharply. The shape of it allows it to trace an elliptical path, thus returning to the thrower. But this property is not without its drawbacks:

“A hunting boomerang needs to fly well and nearly straight to strike prey some 200 metres away. The trouble is that the best-flying boomerangs tend to return, rarely departing beyond fifty metres from the thrower. With the returning form ‘there is no certainty of hitting the mark. It may come back too quickly and may hit your own friends standing near you.’ While recognising that the best-flying boomerangs do return, Aborigines defined a technological problem. They needed to strike a compromise between flying ability and hunting requirements...” (Australian Museum).

Now, the returning boomerang could still be used to hunt, but not to kill or maim prey. Its application was craftier:

“When hunting ducks, for example, nets were set up at either ends of a creek or river. A boomerang was then thrown out over the ducks which gave them a scare so that they took off up the river and flew directly into the nets. From there they were collected. At other times during the hunting of birds the returning boomerang was thrown horizontally along the ground into a flock, and, as they took off the boomerang would follow them into the air. This may or may not kill the bird and a harder way to hunt” (murruppi.com).

Still, this wasn’t the main application of the returning boomerang. In actuality, it was used as a toy:

“The returning boomerang was not primarily designed for hunting as it is too light and wouldn't guarantee a kill. Rather, it was designed as a toy for young aboriginal boys. The toy would allow a youngster to practice throwing skills but still make it fun” (murrippi.com).

So, Sokka’s boomerang? A plaything.

Let’s Bring It Back to ATLA: What Does This Mean?

With the above information, Sokka’s use of his boomerang in canon becomes almost tragic. His boomerang was probably given to him by Hakoda when he was very young. He used it to learn how to throw; one day, when he was older, he would have carved his own throwing stick, and used it to hunt alongside his dad and the other adults of his tribe.

Instead, Sokka’s boomerang is another aspect of his childhood that was twisted by the war. His boomerang is--should have been--nothing more than a toy. He shouldn’t have had to use it to fend off Zuko, attack Azula, and defeat Combustion Man. Regardless, it did become a tool he used to help defeat the Fire Nation, and that’s pretty fitting when it comes to ATLA’s ideas of childhood and war: Sokka spent years acting as his tribe’s protector; Katara spent longer acting as a mother. Thus, his use of his boomerang throughout the show displays how Sokka was forced into a war-torn world at an incredibly, unfairly young age. As a result, he was forced to adapt in ways that took from him.

And we’ve all seen Sokka’s boomerang in action. Here’s a video of his greatest hits--literally. His accuracy is insane, and he catches his boomerang every time. He’s more than ready to have a hunting boomerang, yet we see him use his returning boomerang throughout the show, and long after he earns his ice dodging mark. Tbh? I think that Sokka didn’t want to carve a hunting boomerang without his dad guiding his hands.

So, you might be wondering, what happens post-war?

Eventually, I think Sokka retires his returning boomerang and carves his own hunting boomerang, but the shape of it is particular:

“Some scientists argue that a throwing-stick, commonly used by indigenous hunters around the world, is the precursor of the boomerang... Through trial-and-error the boomerang was refined to a point where the most desirable size, proportions and curvature were established. This refinement brought one serious problem: any improvement in flying resulted in a tendency to return. There is little doubt that indigenous hunters brought this experiment to its ultimate conclusion, by producing the perfect returning boomerang” (Australian Museum).

In short, making a good hunting boomerang is hard. Lots of trial and error, and still, hunting boomerangs come in a wide array of shapes. Thus, I headcanon that Sokka carves his hunting boomerang differently, as compared to the other members of his tribe--it’s more curved. This would show that although he's grown up and is in a post-war world, he's changed in some ways that can't be completely undone.

In other words, Sokka eventually moves on, but the way he throws and uses his boomerang is going to be a little different.

Conclusion

TL;DR: Sokka’s boomerang is a plaything, and this has sad implications. But also? He never should have had one in the first place. Firstly, boomerangs were traditionally made from green hardwood, which I don’t believe can be found in the South Pole. I on god can’t find any authentic sources for bone or metal boomerangs. To be more accurate and still keep with the trend of throwing weapons, I would’ve given Sokka a nuqaq and darts or a bola.

Also, as far as I can tell, Sokka’s boomerang is the only aspect of Aboriginal Australian culture Bryke used in ATLA (I can’t get a confirmation on Hakoda’s name). This is cherry-picking to the max, and it perpetuates the harmful ideas of pan-indigeneity wrt one large, singular culture.

So, if you enjoyed this, please consider supporting aboriginal artists and charities. You can buy aboriginal art from murrippi.com and Murra Wolka. This article here provides a list of charities as well as active GoFundMe’s for families affected by police brutality against Aboriginal Australians. Thank you.

Sources

“Hunting Boomerang - Extreme Range - The Aboriginal Karli” by Throwsticks Channel

“Boomerang Information“ by Murruppi, Djirrbal/Ngadjonji Tribe

“Boomerang” by the Encyclopaedia Britannica's editors for the Encyclopaedia Britannica

“It Comes Back ... What a Nuisance!“ by Stan Florek for Australian Museum

Boomerang: Behind an Australian Icon by Philip Jones from Wikipedia

Murra Wolka

Gonna tag @atlaculture because I think this is of your interest. <3

#atla #avatar the last airbender #sokka #atla meta #atla headcanons #atla hc #YES this is angsty shhhhhhh #am I doing meta right?

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talesofsonicasura · 4 years ago

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Origami Dreams

Another experimental fic involving Jujustu Kaisen but with Yuji this time.

Origami, the craft of folding paper to create extraordinary creations. An art very treasured in the far East especially one specific legend. It was said if one were to fold a 1,000 paper cranes, then the gods will grant that person a single wish for their dexterous hard work. Something a lot of people gave up on from how difficult or monotonous the task was.

To one little boy named Yuji Itadori, it was a pastime he spent alongside his grandfather. For it all started when a classmate had given him a book on origami. He couldn't remember her name but he never forgot the image of fire and lightning upon the memory.

Not even the next day, his classmate had perished in a vicious car accident. To keep her last gift from becoming forgotten, little Yuji began to learn the craft of origami. First it started small like flowers or a snake, then in three months he crafted fantastic dragons, phoenixes and even an origami castle from scratch with masterful talent.

His favorite pieces of origami were simpler than all of his creations. It was a pair of sibling rulers, a king and his younger sister. They sat happily together on two thrones belonging to his origami castle, although he needed his grandfather's help to put them there properly.

Something that always brought him joy was looking at his masterpiece alongside his grandfather. You can only imagine the look of 7 year old Yuji on a day that could be described as a nightmare. A small boy with chocolate brown eyes, salmon hair sitting over almost black thin locks, and barely 3 ft tall watch his grandfather get carted into an ambulance.

The man had suffered a severe stroke which had put his only guardian into a deep coma. A tragedy that left a child returning to an empty house all alone. For a few days, Yuji barely ate anything and avoided his room where his castle lied. One day, he had found or to be precise tripped over the origami book given to him by his fallen classmate.

The book opened onto the legend of the 1,000 paper cranes. Something that gave the boy's soul fire once more. He returned to his room and began his quest to fold the finest paper cranes he could make. Searched every room for spare paper, if he ran out then he took any he could such as pages and color sheets.

Over the span of months, the little boy crafted paper crane after paper crane. Even if he missed up multiple times or lost a few cranes, Yuji never gave up. Finally on the night before his birthday, the child was crafting the last two paper cranes. Cranes crafted from various paper circles around the near 8 year old at his desk.

Slightly pudgy hands tiredly work to fold the wings of a red paper crane with the light of his desk lamp. Above his highest shelf sat a large green checkered origami castle and between its walls were two thrones which sat two origami people. They were sibling rulers for the folded crowns that sat on their sun blond hair heads.

"I'm... almost finished." Said the little boy, drowsiness slowly taking over his senses. He shakily picked up the last piece of blue construction paper and began to fold. Yuji's eyes felt heavy as fog filled his thoughts. First was the body, then came the head, and the wings were to follow.

"Only...a few…*yawn* more folds…" His head turned slightly to the castle of origami's sitting rulers. Their smiling eyes looking back at him as he was on the last two folds. Yuji needed to make a wish before folding the last crane.

It was getting harder to stay awake but he wouldn't sleep until he finished this. The salmon haired child looked at the incomplete paper bird in his hands. Vision growing fuzzy from tiredness, Yuji made the last fold and with his last bit of consciousness made a wish.

"I wish I wasn't alone…" And the boy's mind went black followed by a soft thud. Unbeknownst to the child, his wish would come true as the clock struck twelve. It wouldn't be how he expected though.

Something dull and pointy began to poke the boy's pudgy cheek. Crumbled words reaching the child's ears as his brain slowly came to life. "Hey brother! Our not paper creator is waking up! His rosy cheeks feel like pillows!" A childish young girl's bursting with excitement spoke as Yuji tiredly realized he wasn't alone.

Sleepy brown eyes slowly open to two very familiar pieces of origami overlooking him. Two people with one female and the other male. The female had blond hair with two large curls folded at the back, a folded dress robe made from yellow construction paper, peach paper forming the head with two small black strips to make little eyes, two point folded paper crown that adorn her head, white point fold arms and dark brown point fold legs.

Her male companion had pale blonde hair folded into a large curl that cover the left side of his face, a royal robe made from dark violet construction paper, a gold three pointed paper crown sat on his head with narrow black pieces paper to form eyes that were in a deadpan expression at the moment, purple point fold arms and white point fold legs.

Yuji knew who these surprisingly 1 ft and half tall origami were, they were the two siblings of his Origami Castle: Olly and his little sister Olivia. His two prized creations were floating before, completely alive almost if by magic. The 1,000 Paper Cranes magic. In seconds, the sleepiness faded away as the salmon hair boy sat up in relative shock.

"No doubt the young child is having an existential moment. He may have crafted the 1,000 paper cranes but he wasn't aware of the power that origami can possess. Particularly to those dedicated to the art." Spoke Olly who floated around the room to observe the child's work.

Olivia merely sat herself on the boy's desk to look at the various cranes that sat there. "Creator, take a few deep breaths. It should help calm you down a bit." Without even questioning her instructions, the little boy took a few deep breaths. His nerves and shell shock dissipating in little time.

"You're saying that all my hardwork brought you both to life? Does it mean that something happened to Grandpa too?" Olly flew over to Yuji upon the spoken question. "If you are talking about 'Wasuke Itadori', the hospital had made a call a few hours ago. His pulse has returned to normal and should be waking up soon. He is in extensive care, sadly. It means he can't leave without further risk to his health."

Even though his grandfather was stuck in the hospital, knowing his only family is going to be okay made the little boy happy. The 1,000 Paper Cranes had fulfilled his wish although with two extra attachments. Olly and Olivia had been brought to life. Speaking of which…

"You guys don't have to call me Creator all the time. Just call me Yuji." Yuji smiled brightly at the origami siblings. Olivia giggled before playfully patting the child's cheek. "Sure! Olly, Olivia and Yuji! That sounds like the beginning of a fairytale." The paper princess wasn't wrong on that assumption.

After that day, the little boy now lived in the once empty house with the two living origami. Something that had a lot of obstacles to face but nothing too harsh. First was money for necessary essentials, such as food and water but learning material too.

Selling origami was actually a good source of income with the presence of the two paper siblings. Olly and Olivia had magic which they used for various things but at the moment was to keep any origami Yuji sold to be immune to both damage and age. Some of his creations went from 200 yen to even 5,000 yen per piece depending on how advanced it was.

The two siblings would have to keep out of sight since any normal person would hunt them down for bad purposes. Luckily, Olly and Olivia could fold themselves to pocket size pieces that Yuji could carry with no trouble but they couldn't come to school.

Cooking wasn't much of an issue to learn although there were quite a few accidents with cookbooks and a blender that should never be told. However it appeared that there was much more to his life than magical Origami. For two years later, Yuji learned Olly and Olivia weren't the only ones who changed. He did too.

A 10 year old Yuji Itadori had found himself in a very bad situation. Sometimes selling origami creations would be difficult at some point during each year. This often led the young boy scavenging through abandoned places to look for anything valuable to sell.

He had found an old empty shack that wasn't too far from his house. It had enough scrap metal and loose change that could make up around 9,000 yen in cash alone. Problem was that there was... something living in the shack. And it wasn't friendly.

Yuji was running for his life with Olivia and Olly in his pockets. Behind the child was a blobfish-like abomination with multiple bulging yellow eyes across a gross green body, 15 deformed hands bent in unnatural ways that serve as legs and a large mouth filled with monstrous teeth along a long slimy tongue.

"What is that thing?! It looks so gross!" Olivia screamed within his shirt pocket. The monster had taken them by surprise when they were searching for more scraps. Too fast to prepare anything except to run. "I think it might be a Curse. Something about this world felt off so I did a personal investigation." Chimed Olly from Yuji's jacket pocket.

Both kept their little tirade about breaking the house rule quiet to hear what vital information that could save their life. "Curses are creatures invisible and invulnerable to those without Cursed Energy. I did come across an interesting fact, our Origami Magic can be used to successfully fight them!" Eyes widened upon Olly's explanation.

Too bad Yuji's foot got caught on a tree root which sent the child to the ground hard. "Yuji!" Olivia shot out of his pocket quickly unfolding herself to full size so she could help the boy up. None of them could prepare when the hideous Curse leapt at the two. Life flashing before his eyes, a single thought went through the salmon haired boy's head.

I want to live!

In seconds, the sound of rippling paper and a distorted gasp tore the silence to pieces. Opening eyes he didn't realize that he even closed, Yuji was greeted by an incredible sight. The vicious curse had been snared in large peach ropes of folded Origami that led to a dark blue fold. The very paper itself was the child's own arms, flesh and cloth turned into powerful origami of 1,000 folds.

Without hesitation, Yuji held the monster tighter in his grips as he raised his long origami arms into the air. "Leave us alone!!!" And the child slammed the monster brutally into the ground. It splatted but not into blood or gore. No, the creature exploded into paper confetti of its original green color.

Olly slipped out of Yuji's pocket to stare at the scene in utter shock before turning to his sister. A glowing orange symbol of a hand was on the right side of her chest which vanished upon Yuji's hands turning back to normal. "That was the 1,000-Fold Arms Technique you just did! And the...Curse turned into confetti." Olivia gawked in absolute shock.

It made no sense. Only paper or origami could use the technique and only origami would become confetti upon defeat. Not the hands of a child or a defeated monster. There was only one explanation. "Our magical presence has affected Yuji. He can use origami magic." That very sentence from male origami ruler was enough to picture how things had drastically changed.

After that day, the boy and his two paper companions learned to understand the powers little Yuji now had. It was a hard task for experimentations were needed thus led to occasional battles against Curses. Over the span of 5 years, the child had grown into a young man skilled in the art of origami magic.

There were still some spells he couldn't do without assistance from either Olly or Olivia but Yuji could defend himself against moderate strength Curses now. Although, nothing could compare for the third thing to come into his life. The Cursed Finger of Ryomen Sukuna.

It had occurred two weeks before afternoon clubs would begin at his local high school. The once small child now was a teenager standing around 5'8 in height and most of his baby fat was replaced with lean powerful bulk. Even though Olly and Olivia couldn't really grow like he could, the two happily took advantage of his new height to hang onto his shoulders instead.

Wearing a long coat or cloak on his back along with this 'koala cuddle' meant they didn't have to hide in his pockets if the weather was nice. Anyway, he had a huge cram session to deal with since there would be a big test in a few days. This meant that sometimes he couldn't cook and had instant ramen substitute for dinner.

What he didn't know was in the extra large cup of beef and pork ramen, something had accidentally got inside the package. Olly was sitting across the table looking through the stack of books Yuji had brought home. The origami prince had taken up reading and writing as a personal hobby so the teen often picked up books or writing material.

Olivia was sitting on the couch watching a cartoon on the TV. She usually spent her time drawing comics or acting out scenes from her favorite shows. In fact, Yuji made an account on the computer where the origami princess could post her comics whenever she wanted. Something that exploded across the internet as they end up getting emails to publish them on real paperback.

"Hey Olly, that stapler you wanted to buy should be in stores a few days from now. You want me to grab it for you?" Yuji questioned while slurping some noodles. "Table manners Yuji. And yes, I would like that. It's been so long since I've seen my beloved pet." The origami prince replied while flipping to the next page of his book.

The salmon haired young man pulled up something wrapped up in his ramen noodles. It was too tightly wound to take a better look but the teen could see it was dark meat of some type. Shrugging his shoulders, Yuji put the clump of noodles and meat in his mouth.

Olivia who was about to ask her brother something instantly paled at what was about to go down her creator's throat. It looked like a decrepit old rotten finger with a large claw, so old that it was dark purple and clearly toxic. "That's a crusty finger not beef!" And the finger went down the boy's throat before anyone could move.

Olly quickly flew over to the couch as the kitchen table exploded into splinters. The cause being their salmon hair roommate whose arm was held up in a swipe manner, an arm covered in intricate black tattoos and had large violet claws. Both watched as two slits that emerged under Yuji's eyes alongside black tattoos opened to reveal smaller red eyes.

Or the fact their friend laughed in a deeper more manic voice reminiscent of a psychopath. "Ahahahaha! It feels good to be alive again! Wonder what massacres I can unleash upon this age! The women and children crawling around like lambs to the slaughter!" The possessed Yuji then rips off his shirt apart to reveal even more intricate tattoos going down his slightly more powerful looking body.

"Our big brother got possessed by a psycho devil stripper!!" Olly could only freeze upon his sister's cry as four blood red orbs had now spotted them. Not Yuji stared at the two origami people behind the large plush furniture. Surprise and confusion crossing his four eyed face before he let out a manic chuckle.

"Hahaha! It seems this body belongs to a Jujutsu Sorcerer who knew how to craft living origami. Quite an interesting Cursed Technique… I wonder what I can learn from tearing you apart!" Both siblings were ready to fly away when Not Yuji suddenly froze. A familiar hand symbol emerged on Olivia's chest as Not Yuji's hands morphed into long appendages made of folded origami.

The Thousand Fold Arms wrapping itself around the possessed teen like a straitjacket much to their anger. "What?!" He shouted only for a mouth to pop up on his right cheek and the right eye's iris turning brown in color.

"Good to know origami magic can counter possession to an extent. Alright asshole, who are you? You already pissed me off since you tried to hurt my family and now ruined my study session!" Yuji threatened from the sudden transmutation. Not Yuji growled at the threat in irritation realizing he couldn't move or even retreat into the teen's soul.

This boy had somehow purposely locked him out from both the inside and outside. "No matter what age, you Jujutsu Sorcerers are still a pain in the ass! I am Ryomen Sukuna, the King of Curses! Show some respect you damn brat!" Howled the possessor as he struggled to break the teen's powerful hold over this body.

"Jujutsu Sorcerers??? What the heck is even that? And Curses have a king??? Then again, your crusty finger ended up in Yuji's ramen so maybe you're a gag?" Sukuna decided that he was going to tear the yellow origami girl apart first for the blatant disrespect. If he got out of this boy's grip. Her questions however raised one of his own.

"You telling me that not only do you fools don't know about me but also Jujutsu Sorcerers? Are you a bunch of dumbasses or completely ignorant?!" The King of Curses would've said more if a large blade didn't pop appear by his neck.

This blade or to be precise, blades, belonged to an inhumanly large pair of cutting scissors that were the size of a van. His three crimson eyes burned holes at Olly's own whose paper left arm was enveloped in a wild green circle depicting the tool ready to chop off his head. The prince's face burned red with rage.

"You're lucky I care about Yuji or I would cut your head off for disrespecting my family. We don't know about you or these Jujutsu Sorcerers and frankly don't care. Get out of our older brother's body now so he can study for his exam." Olly threatened, his tone similar to a lion ready to cut down intruders targeting its pride.

"Well too bad! I can't leave your little master's body even if I wanted too! He only ate one of my 20 fingers and even if he did eat them all, the boy's body will become mine! Unless you can fully pull my soul out then I'm stuck with you brats." Sukuna's words dripping with foul venom.

The information painted a very bad picture for the makeshift family of three. A psychotic demon was trapped in the eldest body and soul split into 20 pieces. Even if they could find all the fingers, it didn't mean the King of Curses would leave Yuji's body willingly.

"Then let's find those fingers." Yuji's second mouth grabbed everyone's attention. "You might be stuck in my body but that doesn't mean I can get you out somehow or someway. At best, I can make a origami body that you can possess temporarily so you won't be cooped up in my soul. And once we find all the fingers, I can get you out of my body with the 1,000 Paper Cranes."

A look of realization passing over Olivia's face. "That's right! The 1,000 Paper Cranes ritual can grant a free wish if you can make all the cranes faster than you did the first time! We can use that wish to get Sukuna out of your body! Nice thinking Yuji!" The King of Curses' couldn't help the shellshock.

These three were willing to collect every piece of his soul and use some wish making technique to make him whole again? None of them had any idea what they were getting themselves into by him or those who still seek to destroy the demon. If he played his cards right, then he will finally live once more.

"Alright you cocky little shits. I can help you locate my fingers since they're a part of my soul. Don't think we'll be buddy buddy because once I get out of that brat's body, I will rip you to shreds! Hear me?!" The pair of scissors by the two faced being's neck shrunk back to normal size before hitting the floor.

"We'll fight back when that time comes. For now, you better behave yourself. Come Olivia, let's see what paper we can use for Sukuna's origami vessel." With that said, Olly dragged his sister out of the room. Yuji's arms returned to normal once the magic connection was cut then ripped Sukuna's control over his body.

The tattoos vanished and one of the slits closed except for the right he forced open which took its original red hue. "Why haven't you fully blocked me out yet? You clearly have enough control to fully suppress me. Are you pitying me, dumb brat?!" Yuji merely ignored Sukuna's threat to grab a piece of paper and a pencil.

"What do you want your origami body to look like? It'll have a form similar to Olly and Olivia but you can choose the customization. Even give it four arms if you have the normal amount of fingers per hand like a human does." Yuji questioned, the mouth on his cheek going silent for a moment.

A few seconds later Sukuna spoke up once Yuji finished the body's outline. "Give it four arms and four crimson eyes. The clothing should be a kimono but I want different color sleeves." The salmon haired teen smiled as he got to work on the concept with the demon's instructions.

Maybe things wouldn't be so bad despite having to search for 20 fingers of a literal demon that had entered his life.

And that's it. Today's story was mixed with the newest Paper Mario game: The Origami King. Without spoiling the game to those who wish to play, it's a very fun game but the ending is very bittersweet.

I also wanted to experiment a bit with Yuji as a kid. How different this Yuji could turn out than his canon incarnation since there is new factors to his life.

Olly and Olivia will be serving sibling roles to Itadori but also taught him how to use Origami based magic or Cursed Technique. I'm taking the Smash Brothers' approach to bypass the requirement of Cursed Energy since in Smash Bros, rules are changed to allow each fighter to be on equal terms.

The game mechanics such as 1,000-Fold Arms, enemies, bosses and different locations will be incorporated into Yuji's moveset. This Yuji is also smarter due to Olly and Olivia's presence, perfect motivation to learn.

Spoilers?: Sukuna is going to get attached to the three.

I hope you guys enjoy the story! Until next time folks! Oh and have this Origami Ryomen Sukuna design! Chou!

Edit: Fixed a few spelling mistakes and grammar. Apparently me misspelling Jujutsu is pretty common in early works with this franchise. 😅

#crossover #jujutsu kaisen #yuji itadori #jjk yuji #paper mario #paper mario the origami king #olly paper mario #olivia paper mario #jujustu kaisen sukuna #ryomen sukuna #sukuna #au #tales of sonicasura #fanfic #sonicasura #jujutsu sorcerer #jujustu kaisen yuji

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aj-anime-blog · 4 years ago

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Deca-Dence - Review!

Wooooo Deca-Dence!

Deca-Dence was a summer 2020 anime, and that’s when I originally watched it! I've watched it about a dozen times since, as it landed itself right on my roster of my favorite animes, if not my favorite of all time.

Deca-Dence is an original piece, so no manga source material (whaaat!) and comes from the genius brain of Yuzuru Tachikawa, the director of other fan-favorites like Mob Psycho 100 and Death Parade (a review for Death Parade is in the making!). Original mangas are such a hit-or-miss recently, and I think that this one got the bullseye!

What's our concept?: Set in the future, the world is now plagued by monsters known as Gadolls. In an attempt to keep humans safe from them, mobile fortress Deca-Dence was constructed, where Gears, who live near the top, fight the Gadolls, and Tankers, who live at the bottom, provide support from inside Deca-Dence. Our protag, Natsume, is a Tanker who wants to fight with the Gears, but her prosthetic arm keeps her out of battle. That is until she meets Kaburagi, an older Tanker who seems to know his way around fighting and might have more to him than he lets on.

It's gonna be hard to go through this without spoilers, but I promise that I'll keep it spoiler-free until the section at the bottom!

So overall, what do I think?: 10/10! I've already said it, but Deca-Dence is one of my favorite animes of all time, and it deserves the spot! It has incredible characters, a story that keeps you hooked even through twists and turns, and a pace that manages to cram so much plot into only 12 episodes without feeling overwhelming or rushed! Deca-Dence presents ideas that, at the surface, may seem overused or old, but spins them in such a way that they're completely original. It follows through with character relationships, making them worthwhile and fulfilling.

Let's start with the story this time!: 10/10!! It's going to be really hard to explain the beauty of Deca-Dence's plot without spoiling it, but I'm doing my best! I really do recommend just giving the show a try, though, as it's really worth it! (Don't just drop it after episode 2, like a lot of people did :( That's just judging it wayyy too early!!)

Deca-Dence has a story that's thrilling and new. Everything that happens builds off of itself in a way that's natural and smooth. The elements of the story, no matter how different they may seem, play their part and work together well. The show isn't predictable either - don't go in thinking that you know what's going to become of it. Each twist feels surprising and new without feeling like they're coming out of left field.

I won't say much more in fear of ruining it, but Deca-Dence's story holds up well, and with its strong cast of characters supporting it, it becomes absolutely suburb. I think a lot of people fell into this pit of seeing only the beginning and tossing it aside, but no matter how strange the concepts in it may be, they wind together to form something really unique!

So those characters, huh?: 11/10, I love them so much! I'm a character nerd through and through, and Deca-Dence sends my little character-obsessed heart wild. The protags, Natsume and Kaburagi, are both fascinating, have incredible development, and engage in a character dynamic that is so natural and well-written that I never doubted it.

To be honest, Natsume doesn't have a personality that's anything new. She's young, determined to a fault, naive, and a complete sweetheart. She wants to fight the Gadoll and she'll do anything to achieve that dream. She's not a natural at fighting but her motivation to do so makes her believable and relatable. She's looked down upon because of her prosthetic arm and forced into a job that she doesn't like, but she never gives up on her goals. Even though she's so simple, her interactions and energy make her lovable and a wonderful protagonist.

Kaburagi follows the washed-out warrior trope, as he's an older man assigned to clean-up duty who keeps to himself and never shows too much emotion. While this type of character can sometimes get annoying, the show gives Kaburagi enough time to show his real feelings and explain how he got to his position. This proper development keeps him down-to-Earth and shows him as even more flawed than Natsume. Kaburagi's motivation, which I can't explain for spoiler reasons, is entirely believable and explains perfectly why he decides to put up with Natsume, even though she's his polar opposite.

The relationship between the two characters is balanced and beautiful. It's given the proper time to grow, mature, and ends up being extremely worthwhile. Natsume relies on Kaburagi, as he sees the potential in her and continues to support her in ways no one else ever has, and Kaburagi understands that Natsume is everything that he's trying to rebel against. Their relationship is emotional, runs deep, and leaves you wishing that there was more of them to watch, even after the show has ended.

The villain! The villain. I cannot talk all that much about the villain at the risk of spoiling. He is evil. I really really hated him, and that is a very good thing because it means that he's well-written. His motivation makes sense, his actions make you want to strangle him, his design was really really good! He's not the most interesting thing in the show, as his character is really only there to move the story along, but not every villain needs to be incredibly deep for a show to be good.

Lastly, our supporting characters! While none of them are as wonderful as Natsume or Kaburagi, they're still interesting and hold their own. They play important parts in the show and all of their interactions with the main two feel natural. Their conflicts make sense, their resolutions feel well-earned, and their personalities are all unique! For a 12-episode anime, there's a larger cast of supporting characters than you would think, and nearly all of them are memorable and loveable.

Time to shut up about characters, what about the art?: 9/10, ooooh yes the art! Deca-Dence is gorgeous! It's animated by studio Nut (bwahahhaha), who haven't done that much else in the anime world. Still, for a relatively new studio, it's absolutely amazing! The characters all have unique looks that make them stand out and the fight scenes are to die for. They lose a point on the CG, since it's a little bit less than amazing, but again, for a new studio, it's definitely not the worst I've seen!! (Admittedly, I also don't like CG much at all, so I'm always harsh towards it when it's used).

Deca-Dence switches between two styles that vastly contradict each other, one which is a colorful, happy-go-lucky style, and one that's the more typical anime style. I'll speak more about them in the spoilers section, but they do a wonderful job at maintaining the tone of the show, as to not let it get too dark, and forming a clear divide between the events of the two parts.

Oh goshhh the Gadolls look so cool. I'm so obsessed with cool monsters in anime and woah they look awesome!! They're original, with cool designs that I haven't seen elsewhere. The show could've so easily slapped in some pretty typical-looking dragons or wolves or whatever, but they instead spent time on these epic creatures, and it's so worth it! It makes the setting that much more unique and allows it to stand out from other animes.

Surely there's a flaw in this anime? The pacing, maybe?: 9/10. Yeah, I would argue that the pacing is Deca-Dence's weakest point. Not that the pacing is particularly bad compared to other shows! I still think that, for a 12-episode anime, it does a wonderful job of fitting in a large amount of plot into only about 5 hours! But, at some points, parts felt rushed or confusing, as the show would zoom into them. I never felt like I was truly lost, though. Even if I did wish that there was a break from the action, I never found myself really thinking that the show was leaving me behind in the dust. It's not the kind of show that you can turn on and leave running while you multitask, though. Blink for too long and you might miss something important, which can ruin some of the hard-hitting twists that the anime works so hard to build up.

OK! Time for spoilers! I beg you, go watch the anime before you read past this, because it's totally worth it!!

Woahh episode 2 am I right?? I thought that I clicked into the wrong anime when I began it, it took such a wild turn, and so soon in the anime too. This is what I really mean when I talk about a show not being what it appears to be! Again, I really encourage you to watch it for yourself, but if you're that stubborn on reading this through before you turn it on:

Deca-Dence is not about the heart-wrenching battles between Gears and their desperate attempts to keep humanity alive, because Gears are just avatars for cyborgs! You see, there's a civilization of cyborg people who are living above the Earth, who log in to fight in mobile fortress Deca-Dence as a game. So the Gadolls are genetically grown as prey for the Gears and the entire story surrounding Deca-Dence's battles are scripted. Crazy right!? The best part: the Tankers aren't in on this at all. You heard me: Natsume and her human friends have no idea that Deca-Dence is staged.

From here, Deca-Dence has two distinct parts: we'll call them "Natsume's half" and "Kaburagi's half". Natsume's half refers to the mobile fortress, the Tankers who live unaware of the cyborgs, and the art style that premiered in the first episode. Kaburagi's half is the Solid Quake organization, the Gears who are avatars of the cyborgs, and the goofy, stylized art style with big lines and bright colors.

The twist and the diverging sides of the story set this show up as not your typical sci-fi anime, but as something a little deeper. The stakes are the same, as humanity is in just as much peril as it was before - it becomes abundantly clear that the Gears and cyborgs don't care about them - but the name of the game completely changes as you realize that our so-called "heroes" aren't really all that heroic, and there's a lot more going on.

Kaburagi is, of course, one of these cyborgs, cursed to live among the Tankers because of a mistake he made while playing as a Gear. Now, he's in charge of eliminating "bugs", or mistakes that the system finds. He's upset with his life, frustrated at what he's doing, and contemplating suicide. But when Natsume walks into his life, a little girl that the system considers legally dead, Kaburagi sees a chance to rebel, even the slightest, against the system. He's supposed to kill Natsume, but instead, he takes her under his wing, determined to protect what he's been instructed to eliminate. This development gives their relationship a deeper meaning, even if Natsume doesn't know it.

Deca-Dence does a wonderful job at showing the watchers both sides of the story but keeping Natsume's side in the dark. Even though we see scenes from Kaburagi's side, Natsume knows nothing about them. When Kaburagi leaves after Hugin kills his avatar, Nastume doesn't know where he's gone and has no reason to believe that he hasn't run away. There's no way she could guess that Kaburagi's new form - his weird orange Gear avatar - is the mentor that she once knew. And when Kaburagi, back in his original form, is killed in front of her, she really believes that he is dead. When Natsume finds out about the truth of the Gadolls - that the world she knows is fake - her horror is palpable and realistic, because there's no way she could've known any better.

Kaburagi's world has a goofy style to it, with the cyborgs looking cartoonish rather than realistic. While it might initially seem off-putting, I think that it ends up balancing the tone of the story much better. Consider the hellscape that is the reform facility that Kaburagi visits. Imagine how dark it would've been if it was not in a silly style! By keeping the style cuter rather than realistic, the show doesn't dip too far into dark and gritty, and I really liked it!

It also set up this harsh divide between Kabruagi's half, where things are easygoing, done for pleasure and fun, and not nearly as harsh as Natsume's world (Look at the name of the series! Decadence literally means living in excessive luxury!). Even when the cyborgs are in their Gear forms, which are drawn in Natsume's style, they're still a lot more colorful and vivid, showing that their lives aren't as harsh as that of the Tankers. The art styles reflect the differences between the two halves and give them both distinct tones and personalities!

& finally, let's take an in-depth look at one scene!: I had a really hard time picking what I thought summed up the series in a single scene. In the end, I think that Natsume and Kaburagi's discussion at the end of episode 7 was the best. Here, we see a culmination of a lot of the character development going on. Kaburagi, in this scene, is in a Gears avatar that Natsume doesn't recognize, meeting her for the first time since his normal avatar was killed. Natsume's been working with the Tankers to protect them from Gadolls that infiltrated the fortress, and she's motivated them all to rise up and fix the hole in the fortress themselves.

Kaburagi has encouraged Natsume to be a stronger person, even though she had to be independent and not rely on him any longer. His pessimistic view on the world - that they'll never defeat the Gadolls - has rubbed off on her, but it's only made her more determined to be stronger to stand up to them. In this scene, we see her breaking down as she considers that Kaburagi might be right, and that she'll never kill them all, but that she needs to continue fighting.

Though Kaburagi previously doubted Natsume and her endless determination, he now feels filled with the same motivation. Natsume has convinced him, time and time again, that he can't give up, and so he decides that he's willing to do anything to make sure that she never loses that hope. He wants her dreams to come true, and he knows that she can't accomplish them alone.

This perfectly shows the effects that they have on one another. Natsume is now stronger than she's ever been: independent, able to take down Gadolls on her own, and determined enough to patch up the hole that no one else thought could be fixed. Kaburagi, in stark contrast to his suicidal thoughts from episode two, is now completely devoted to make the world a safe place for Natsume. Their relationship has shaped one another into being the best versions of themselves, and this isn't even the end! They still complete their growth in the last few episodes, but I've rambled about them enough.

We're done!: That's my review of Deca-Dence! I really believe that it's one of the masterpiece animes in recent years, and I wish it got more attention. I'm sure that there's plenty of anime out there like this one - forgotten diamonds in the rough - that I'd love to dig up and fawn over. Tell me if you know any! Or, if you disagree with my review, tell me where you think I'm wrong!

#time to go rewatch deca-dence #writing about it has made me miss it so much #its sooooo good #please check it out #it's so worth it #studio nut #bwahahah #studio NUT #lmaoooo #please tell them to get a better name #deca-dence #anime #anime review #summer 2020

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kendrixtermina · 5 years ago

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Assorted House of Feanor Thoughts

I wrote this as a reply to someone, but then realized that this should be a post of its own.

Line between extrapolation, interpretation & headcanon is going to be fluid here

Long post under cut

The seven sons in general:

all moody, fierce, intense and brilliant, each in various different ways

none of them can really stand to be cooped up in one place for long

F R E C K L E S you will not convince me otherwise

Apart from the ones explicitly described as pretty (ie, Maedhros and Celegorm) they’re actually relatively plain by elf standards, or at least sort of rugged-looking, especially compared to their part-Vanyar cousins - I mean, figures that some would turn out more like Miriel or Nerdanel both of which were supposedly more average.

all are very resourceful having spent most of their lives helping out with their parent’s projects, exploring the wilderness, or (save for Celegorm) hanging out in Aule’s halls. Most can probably whip up a steampunk or magitech solution to basic war-related problems

Because of this they’re a very tight-knit group

growing up, they did not know many children their age; Ironically the most contact they had was with their cousins because Feanor paid semi-regular visits to Finwe. Apart from Turgon (and Orodreth if you place him in the second rather than the third post-journey generation) the cousins really dug the adventure stories. (Galadriel pretended not to be interested and offered plenty of critiques, but listened anyways)

more survival skills and just a lot more casual than your average princes

They’d all been adults for a good while by the time of the rebellion; the twins are a tad older than Aredhel, Galadriel and Argon; Caranthir and Angrod are about the same age. Curufin is younger than Aegnor.

They all look back at that trip to the lightless shore of the outer sea as a cherished family memory

Also I don’t think Feanor disciplined his sons very much after all his own father let him get away with everything. In his eyes the brats can do no wrong especially not Curufin and to a lesser extent Amrod Nerdanel tried her best to counterbalance this and it kind of worked on some of them, but the three middle ones were a lost cause

I think a lot of the weight behind the oath comes from how Feanor made them promise him to see it through on his deathbed. It was his literal last wish.

Maedhros:

The Leader™, the most strong-willed and the deadliest fighter by a huge margin. What the orc under your bed has nightmares about.

Obviously a very competent diplomat, strategist, and the sort to put constructive results over personal glory; resilient, formidable, unpretentious and tough as leather

but not at all overconfident, and the type who is not blind to the flaws of the people he loves. He knows very well that Feanor wasn’t perfect and does many things that his father would not have agreed with - at the same time he has a strong sense of obligation, honor and loyalty which turns out to be his fatal flaw in the end when being loyal and keeping his word increasingly requires him to do dishonorable things

if there was a definite breaking point it was the fiasco with Dior’s sons

Stoic but courteous and eloquent; From Finwe’s death onwards increasingly grim, grizzled and not very hopeful, though he’s the sort to give his all and try to be noble even when there’s no reward or even thanks or respect.

Despite this, he has as a dry sense of humor and at times uses it to defuse tense situations or disarm people he’s negotiating with (see the scene with Thingol’s message) - does have a streak of gallows humor to him especially after the Thangorodrim incident

As the heir Feanor actually let him in on trade secrets and scientific speculation; Their relationship is probably the most equal; I do think Feanor was capable of actually appreciating that Maedhros got a mind of his own and isn’t afraid to stand up for himself. Feanor values independent thought, even if he’s not always good at really living that value with his tendency to take things personally and see others as taking sides for or against him.

Can’t really craft stuff to the same degree without his right hand. He then focussed on more abstract/mental pursuits which were perhaps his forte, to begin with but it still bothers him more than he lets on, especially since he still retains, or swiftly regained, his skill at making things dead.

He may or may not qualify as a cinnamon roll but he definitely looks like could kill you

Maglor:

Maedhros might have been the token responsible sibling, but Maglor was the understanding, comforting one and always had a nurturing streak - hence why he was the one to take in the kids.

Sensitive Artistic Type™ - goes from quirky and passionate back in Valinor to melancholy & tormented as the war drags on

one of those people who despair over & get self-critical over their work even when it’s regarded as masterpieces

Like Feanor and Miriel before him, he tends to get super absorbed in his work/art and just plain disappears for days

Now some ppl hold that he didn’t start having second thoughts until near the end, but judging from how he comes along to Fingolfin’s party or to hang out with Finrod, I’d hold that he was always ‘the nice/gentle one’, but not solely in a positive way; Unlike Maedhros he did not stand up to Feanor about the thing with the ships and indeed lets Maedhros talk him out of turning himself in at the very end, so he’s probably somewhat lacking in assertiveness

Even so, he’s probably one of the better fighters, given the difficult territory he gets, that he’s the one to kill Ulfang, and how long he survives. He probably feels ambivalent about this.

I imagine him having an agility-based fighting style

Probably codified the heroic epos as a specifically Noldorin art form

Celegorm:

A lot of ppl focus on the barbarian aspect, but I’d say he actually has some degree of ‘subverted prince charming’ going on, with how he sweet-talks Luthien at first before throwing her in the dungeon, and how he seems to have been one of the more accomplished ones, joining a respected order and all

He’s actually pretty elegant and perhaps playfully gallant, but it’s a facade; He’s an animal underneath; though his instincts are probably somewhat nobler than what ends up happening when he gets roped into Curufin’s schemes

usually, the first to react and leap into action when something happens.

Herculean strength, daunting presence

also a fairly efficient general, if a bit of a glory hound and pretty fearless in the pursuit of victory

very much has an ego and doesn’t like being humbled at all

Strikes me as the sort of person who would take badly to the realization that they can no longer return to the glory of the past or being judged unworthy, not that he’d respond with anything but defiance

Wrestles giant monsters barehanded

Always low-key wished to fight creatures of darkness before the rebellion to test his might against them; Orome and the Maiar members of the hunt would have told stories of them

though he gets his pretty face from Daddy, his strong build comes from Nerdanel, possibly somewhat accentuated by his being a dude

Caranthir:

grumpy, moody, no filter, likes his alone time, shows his feelings mostly through actions, also somewhat pragmatic

the quartermaster; Actually one of the smarter ones, if not outright the second smartest after Curufin, though he has more a logistic/administrative sort of intelligence

generally one of the more prosaic, practical family members, or maybe he’s just more subtle about his dramatic side or has a harder time expressing it. Definitely has Hidden Dephts™

I mean, putting your hideout on the slope of a mountain near a deep, dark lake circled by mountains? Goth AF. A+ aesthetic there.

Hosts the family get-togethers at his fortress. Has most certainly shoved Celegorm and Curufin in the lake at some point

has a certain respect for strength, valor and skill even in ppl he doesn’t necessarily like; Not at all diplomatic or polite, but also not finicky or fastidious, so actually forged a whole lot of alliances on a “everyone’s money/swords are equally good and we don’t have to set conditions” basis and seems to have been pretty successful at this

started out haughty but definitely learned to be more open-minded/ broaden his horizon over his time in Beleriand - but as no good deed goes unpunished, Ulfang happens

Whereas Curufin and Celegorm can put up a noble veneer but will totally stab you in the back if provoked, Caranthir’s sort of the opposite, in that he’s rude and quarrelsome on first contact but has a good heart deep down (see the Haladin incident) and doesn’t keep grudges long term once he’s done grumbling where Celegorm is sore loser and Curufin a spiteful twerp.

though personally, I don’t see Caranthir as trying to reign himself in. He wouldn’t really be known as “the harshest” in that case. Who was gonna teach him to behave himself, Feanor maybe? kek.

Curufin:

We have a lot of actual dialogue & description for him - he has this characteristic little defiant smile, is often coldly contemptuous in tone, some level of ruthless pragmatism

has mild/vague foresight - nothing as impressive as what Finrod and Galadriel have, but he has it more or less to the degree that Feanor did.

actually pretty insightful, thought-through and political-minded in some ways, too bad he shares Feanor’s tendency for unwarranted suspicion and factionalism, as well as a tendency to just act on his own without checking with anyone

always either filthy from work or fully blinged-out and impeccably groomed, no in-between

more calculated and subtle than Feanor - not that Feanor ever needed calculation or subtlety since he could get by on sheer awe or intimidation. Celegorm and Maedhros have that same quality in spades and Curufin’s a little bit jealous

Not actually that much older than the twins, but always acted older than his age, especially once he heard that Feanor was the same

collects weapons, loves fancy horses, the most traditionally aristocratic of the seven

Got married relatively young; saw it as a matter of honor to further his family’s line

continued his scholarly pursuits in Beleriand; this is part of why he elected to share a territory with Celegorm

The last Celebrimbor ever heard of him was a magically sealed box filled with research notes he sent out in case he didn’t make it out alive

Did not take his parents’ estrangement well and is stubbornly salty toward Nerdanel (though deep down he misses her as much as his brothers if not more)

Frequently the Bad Influence/ Shoulder Devil to his brothers.

But when he gets excited about his research/craft he’s got this “exited cocky little boy” side to him that’s surprisingly pure.

Only Nerdanel and possibly Celebrimbor’s mom are allowed to call him ‘Atarinke.’ His brothers might still use it when they’re teasing or scolding him.

The Twins:

Every time a fic does something else with them than “generic prankster redheads” I cry with joy

We don’t have that many data points on them, but most of them suggest they’re every bit as fierce as their brothers

they’re somewhat aloof & mostly do their own thing;

As kids they’d mostly sit in a corner and play with each other. Possibly deliberately played up their identicalness as a kind of emo fashion statement / to fuck with people (”Should we do this Ambarussa?” - ”I don’t know, what do you think, Ambarussa?”)

never really gave up their semi-nomadic ways

Compared to Celegorm they probably more on stealth and precision than strength and bravado. They suddenly appear in front of you, and bam! You’ve got an arrow poking out of your face. Probably the ones scouting the perimeter of the camp.

Amras is a bit sassier, but it’s actually Amrod who’s a little bit braver.

Hardly ever argued until their parents’ estrangement; That led to quite a few quarrels between them.

For all his faults, Feanor made a point of doing things with each of them individually.

quietly nursing some level of pent-up despair and frustration until they push for the assault on Sirion

In the version where one of them dies, and then no one ever talks about it, - I imagine that the remaining one ended up cynical in a “let’s just get it ever with we’re already doomed after all’ kind of way

Bonus:

Celebrimbor

“Curiosity killed the cat but the second mouse gets the cheese” incarnate. He’s a sweet, excitable, deeply good guy, but Curiosity is the strongest force within him, besides maybe “think of the potential”

very bold in his thinking, not held back by any conventional boundaries. This is partially why he ended up more independent than his father and uncles but ironically that might in a sense make him more similar to grandpa than any of them

Really looks like Feanor. Like, Arwen and Luthien level of resemblance. It takes ppl a bit to notice because of how different his general demeanor and surface-level personality is.

Very scattered and absent-minded, prone to sudden flashes of inspiration, often shows up in some form of disarray

spent his adolescence at Formenos. Retained a certain affinity for wintery places ever since

He sensed something fishy about Sauron before long, but between wanting to avoid the family propensity for unwarranted suspicion and being tempted by all the possibilities of what he could do with that power/knowledge even if it did come from a fishy source, he didn’t act before it was too late - he can't have been fully clueless since he hid the three; There was definitely just a bit of actual seduction/forbidden fruit appeal in place there, whether to use the word “hubris” probably depends on your philosophy.

He drops the ‘th’ once he renounces Curufin, but slips right back into the old habit when excited or exasperating. At some point during his rule of Eregion, he stops bothering to hide it - A similar thing happens when he’s talking Sindarin with his northeast Beleriand accent.

I know this is a very popular old hat headcanon, but... His other name is also “Curufinwe”. Everyone called him Telperinquar from the start, lest all three come running and grumble about being distracted from work, but after the Nargothrond debacle, he had other reasons for not using it. But really, Telperinquar/Celebrimbor is just another more metaphorical way to say “this baby shall be good at working with his hands” so yeah

My HC for where he was between the Finrod incident and the second age is as follows: He departed for war with Gwindor’s troupe (this is someone who tried to engineer a way around entropy - not a “do nothing” sort of guy) and fled the battlefield with Turgon. (hence some of the passages that place him in Gondolin can still be made to work. He totally made Earendil’s baby-sized mail coat) He fled with Idril’s party. Had she not tipped him off somehow he would probably have died with the rest of the smith’s guild. Or perhaps he grabbed all the valuable records he could find and ran for it because someone needed to preserve them. As living surrounded by the survivors of Doriath would have been awkward to say the least, he went to the isle of Balar to offer his skills and service to Gil-Galad. This is where he befriended/ reconnected with Galadriel and Celeborn.

Finrod once told him the “faithful stone” legend from Brethil. It would be an inspiration to him much later. Generally credits Finrod with being a good influence on him.

Judging by the stars on the doors of Durin his stance on his family probably softened over the years. He essentially attained their original new dream of exploring distant lands and building unparalleled new realms, at least for a while - also definitely has a similar “screw destiny!”/ “I defy you stars!” attitude. Perhaps he wanted to see their vision done right.

But on some level, I think he also wanted to associate himself with their fame eventually especially once his own accomplishments grew. His feelings were probably always very ambiguous because he must have admired and envied their great works but also lived getting weird looks whenever he did what he’s best at and loves doing most in the world because it associates him with these very ambiguous people whom many hated... at one point in the past he must have really admired his father and grandfather, I mean, he came with them across the sea.

Nerdanel

She got Feanor the apprenticeship / gave him the idea after they met on their travels.

Were seen as something of an eccentric hippie/ hipster couple in the early days

She’s tough, confident and definitely quipped/ yelled back at times. Definitely described as ‘strong-willed’ and individual. Like this was a ‘kindred spirits’ thing before everything went to hell

it counts for something that even during the ugly bitter parting scene the worst Feanor could say was “someone must’ve turned you against me because you definitely cared once” rather than “you’re a traitor” for all that everything else in that scene made him very punchable

Their relationship dynamic, as I see it, is that she’s the one person who just sees and treats him like a normal dude. No apprehension, no fawning. He’s not “the greatest” or a tainted aberration to her, he’s simply a like-minded friend. So she’s pretty chill about his idiosyncrasies and doesn’t see them as a big deal, but on the other hand, she’s not overawed and will not take bullshit

Since she is good at understanding people she probably usually gets where he’s coming from even when he’s not being reasonable

possibly invented abstract art; was most certainly influential.

the elves who serve Aule probably have their own little traditions. She might’ve imparted some of those on her descendants

Also ppl tend to forget that she also does metalwork. Again, it’s quite possible that she got him into it and that if they’d never met, he might have landed in a completely different discipline

I think it says a lot about Feanor that he chose her for being smart, creative and independent-minded. It shows that he actually values these things and that it’s not just a rhetorical device; he’s not a hypocrite, he failed at what he was genuinely trying to aim for.

She had Finwe won over the moment she mentioned that she likes children. To Feanor’s chagrin, she proclaimed that his then-tiny half-siblings were the cutest thing ever but since he was trying to impress Nerdanel, he actually kept his composure there.

She was totally buds with Earwen and Anaire.

I really like those fics where she played some part in the reconstruction efforts. She’s already renowned for her wisdom and has some familiarity with the court, so why wouldn’t Finarfin make her an advisor?

Miriel

She was described as having “silver” hair like what the teleri sometimes have, but that was for lack of a better world. It’s actually pretty close to pure white. It was an unprecedented anomaly. Celegorm got it. Though overall Maglor might be the one who most looks like her. Or maybe Caranthir.

Well, her tendency to refuse to eat her words no matter what has certainly proven highly heritable

Canonically one of those ppl who talks very fast

Feanor doesn’t look very much like her at all, but he talks like her and is similar in his body language etc. The shape of her hands, however, has made it all the way to Celebrimbor in an unbroken line. Maglor’s got em too.

She was the only one of her family to make the great journey. That’s why “the names of her kin are not recorded”. You see, they tried to convince her not to go, and that only made her more determined.

Miriel and Indis used to have this thing where Miriel would sing while Indis plays the instrument. First time Indis caught Maedhros and Fingon doing something similar she got very emotional about it. She told them how she and Miriel also used to have a sort of odd friendship despite their opposite looks and personalities. Maedhros had at this point never even heard that they used to be friends. She proceeded to tell him some fun stories from Miriel’s youth and encouraged the two to spend time together.

We’re told that Miriel and Finwe only got together in Valinor; Since Indis had a thing for him since before the Vanyar moved out of Tirion it’s fully possible that Indis actually liked him first. Maybe she actually introduced them to each other, like she wasn't confident enough to ask him on a date so she brought her friend, only for the two to be immediately smitten with each other. Poor Indis decided that she had no chance and moved out of town when Ingwe did.

Miriel definitely expresses her love/admiration in the way of “You! You’re perf! I must make art of you!”

Since his arrival in the halls of Mandos, Feanor has made several of Vaire’s Maiar cry with his critique of their tapestries, but he holds that his mom’s are best.

Feanor himself

In general, I hold that while he said many things that were not right, there’s a lot of what he prophecied that was not quite wrong and does come true in a kind of way, even if not necessarily for himself and his family. They sort of pave the way as Promethean figures. The second mouse gets the cheese (it’s usually some Nolofinwean)

Though he’s also the ultimate example of “you are not immune to propaganda”. Literally the smartest man in the world; Still touchy enough to be an easy mark for emotional manipulation.

I think a lot of ff undersells what a polymath he must’ve been and that part where he worked on many different topics and was “the most learned”.

You know the type of author who has a bazillion unfinished wips going and jumps wildly from topic to topic? Feanor’s research notes are exactly like that, especially the tendency to disintegrate into cryptic jottings and notes right before the most interesting part. Just like the unfinished texts from HoMe Just like Gauss or Euler, having invented everything a hundred years ahead and 40% more discoveries buried that he never felt ready to publish. (I can also definitely see the sons – especially Maedhros and Curufin – spending the better part of the siege of Angband compiling some of it into a presentable format. Celebrimbor would then be the one to stumble upon implications /corollaries that had somehow been missed for thousands of years.

For all that I enjoy fics where they’re all smoll and adorable as much as the next person, canonically we’re given every indication that he was an adolescent or young adult by the time the remarriage occurred. The published silm has him “well-nigh full-grown” by the time Indis started having kids; In the HoME passage detailing the romantic meeting on the mountain it’s said that he was “wandering in the mountains” (ie, old enough to do so on his own) at the time. He moved out as soon as he could, so he and his half-siblings never actually spent any significant time in the same household

I mean, he reacted like a teenager would, and IMHO neither his character nor Finwe’s make any sense if this wasn’t a single parent situation early on.

Personally, I really don’t like that headcanon that he was nicer to the sisters for no reason. I don’t think his relationship with Fingolfin was ever much better than the sort of “awkwardly tolerating” we saw at the reconciliation scene; At the same time, I don’t think things would ever have escalated to that degree if Melkor hadn’t gone mucking things up.

In the same vein, I don’t think he always had beef with the Valar. He used to hang out in Aule’s halls and let Celegorm study with Orome after all and studied their language. - he certainly seems to have had some romanticism for the Hither Lands evident in his speeches, he traveled far past the well-lit areas, made crystals that shine in starlight etc. so he was probably always somewhat independent-minded and he certainly knew, better than anyone, that the Valar are imperfect and can’t fix everything (they couldn’t heal Miriel after all) - but it’s a long way from healthy skepticism and understandable disappointment to asserting bad intentions where there are none.

There’s a long way between not wanting a relationship with someone, and pointing stabby objects at them. Feanor was always difficult and never the type of person to be easily satisfied but at the same time, he clearly had his “delight” in his work and life as it was pre-Melkor. He could’ve gone on as an inventor and author of strongly worded opinion pieces; perhaps the elves were even “meant” to go back & come into contact with the Edain for a brief while, just without all the murder.

The thing about Melkor’s lies is that they made a complicated situation conveniently easy in a way that he (and Fingolfin!) would want to believe. It’s not really either of their fault that they both exist, but if your rival is actually out to get you then suddenly all your negative feelings are justified

Personally, I don’t think it the remarriage made that much of a difference - Miriel would still be dead. What Feanor’s really mad at is the inherent unfairness of the world. But he can’t fix or fight that, so in a misfire of his engineer’s mindset that thinks in terms of simple cause and effect and wants the world to be logical and controllable, he blamed something tangible (Indis.)

I think Melkor hates him so much because he’s kinda what Melkor wishes he was or likes to think he is. They’re both the mightiest of their respective kinds and don’t really fit in, but Feanor’s actually extremely creative. He goes and does his own thing, and maybe errs in overlooking that no man is an island and that all works are built on those of others, but, look at Melkor who wants all the scale of a group project but none of the “cooperation” part and basically can’t make anything of his own. “You’re like me, yet you’re successful? I cannot allow it!”

In a sense you have classic Satan and Miltonian satan in the same setting, and they can’t stand each other

#silmarillion #house of feanor #sons of feanor #feanor #nerdanel #maedhros #maglor #celegorm #caranthir #curufin #amrod #amras #celebrimbor

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jamestaylorswift · 5 years ago

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Love’s a game, wanna play? A meta-analysis of the game of love and Taylor’s love of games

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Before actually getting into this, I’m obligated to make the disclaimer that this is just my interpretation of some songs. I’m not claiming to be “right” about anything. I have no way of knowing whether my observations will hold true if/when Taylor releases more music. It doesn’t really matter. There are many ways to interpret music.

Games are not the only extended metaphor in her discography; if you understand one, you don’t necessarily understand them all. This essay is an exploration of how one particular metaphor could be so effective.

In addition, I am often the first person to say that “not everything is that deep.” Yet here I am, making something deep. I was only mildly curious about this metaphor at first. In the process of documenting my understanding, I surprised even myself as I realized how rich this metaphor is.

A warning…this essay is very long. (It’s either mildly interesting or completely ridiculous and nothing in between. Likely the second.)

—

The notion of a ‘game’ is often conflated with the notion of adversarial conflict. This misunderstanding is largely due to Western structural/cultural forces. Mathematicians and economists have a passion for framing most predicaments as zero-sum, or strictly competitive, where one player’s advantageous move by definition disadvantages their opponent. But collaborative and otherwise not strictly competitive games exist too.

Taylor’s fascination with games spans her entire discography. Artistic preoccupation is reason alone to analyze her work from such an acute angle. But pleasantly, Taylor also does not share the academics’ favorite pastime. She strays away from the zero-sum bias in very unpredictable ways. In fact, she has no bias. She prefers to mix and match her language to each situation as she sees fit. Her convolution of love and games is expressive, divorced from the logical framework by which games are defined. I think examining this facet of her work with a fine-toothed comb may be especially illuminating.

It seems counterintuitive to argue that games could (or should) be anything more than Taylor’s favorite metaphorical manifestation of logos. Yet revisiting a metaphor is itself communication, conscious or not. Advancing an understanding of this extended metaphor, in my opinion, substantiates what is usually intangible about Taylor’s songwriting brilliance.

On Games

Precocious and perceptive, Taylor has, for as long as she’s been writing, placed competition, strategy, and collaboration alongside conflict. Therefore, for the sake of coherence and relative brevity, analysis is scoped only to songs with significant mentions of games, puzzles, or game-related imagery. ‘Games’ are not conflated with general fighting, trickery, toying, revenge, mention of rules/strategizing, or winning/losing. ‘Puzzles’ are not conflated with disorder; puzzle pieces must be pieces of a larger, vivid picture.

Consider football. Imagery of high school football makes “Miss Americana & The Heartbreak Prince” fair territory. Someone shouting over a football game in a bar does not qualify “Mean.” The football helmet worn in “Stay Stay Stay” is an absurd and compelling detail in context, as likely to be fictitious as it is true, and hence more significant than a televised sporting event; “Stay Stay Stay” qualifies. In essence, games are interesting as a device rather than a simple detail.

Below is a list of the songs with significant game reference(s), categorized by implied type. Note that a song can belong to multiple categories if it contains multiple references.

Generic/unspecified games: “Come in With the Rain”, “Dear John”, “State of Grace”, “Blank Space”, “Wonderland”, “…Ready For It?”, “End Game”, “Look What You Made Me Do”

Card games: “New Romantics”, “End Game”, “Cornelia Street”, “It’s Nice To Have A Friend”

Dice games: “Cruel Summer”, “Miss Americana & The Heartbreak Prince”

Board games: “Dear John”

Sports/contests: “The Story Of Us”, “Long Live”, “Stay Stay Stay”, “End Game”, “Miss Americana & The Heartbreak Prince”

Puzzles: “Red”, “All Too Well”, “So It Goes…”

Other: “It’s Nice To Have A Friend”

Like many people, Taylor habitually seeks structure to manage unpredictability. (Games provide structure for situational volatility, hence her artistic love affair with this metaphor.) The stylistic choices she makes to entertain this habit, however, are anything but consistent.

The games have a variety of different players, such as in “Dear John” and “Look What You Made Me Do.”

She does not establish strict parity between characters’ emotional affiliation and the competitiveness of a game. “Dear John” features an adversarial game. Conversely, her partner in “Blank Space” is a co-conspirator/collaborator. “All Too Well” analogizes autumn leaves as puzzle pieces; puzzles are collaborative games.

Taylor famously claims that love is a game in “Blank Space.” This song is colloquially understood to be about the love story we see play out in the media. Games can thus include all parts of her ‘love life.’ Arguably, she foreshadows this in “Long Live” by intertwining parts of her ‘America’s sweetheart’ image with professional success, which is derived from writing about love.

Taylor is not always a player in a game, such as in “Cruel Summer.” Her partner may not be either; see the crossword in “Red.”

In short, humans are unpredictable, as is love. It is clear that Taylor uses games as an incredibly powerful metaphorical device. They are a genuine reflection of her feelings about love.

Musical analysis usually begins with careful consideration of each track. Given a disparate and lengthy list of songs, it is probably more fruitful to go up a layer of abstraction. Of particular intrigue for this set of songs is the relationship between time and Taylor’s willingness to divulge more information about a metaphorical game.

We revisit the set of songs to list them in chronological order. The purely ‘generic’ songs are now bolded: “Come in With the Rain”, “Dear John”, “The Story Of Us”, “Long Live”, “State of Grace”, “Red”, “All Too Well”, “Stay Stay Stay”, “Blank Space”, “Wonderland”, “New Romantics”, ”…Ready For It?”, “End Game”, “Look What You Made Me Do”, “So It Goes…”, “Cruel Summer”, “Miss Americana & The Heartbreak Prince”, “Cornelia Street”, “It’s Nice To Have A Friend”

Specificity about a game seems to decrease with proximity to the 1989 era.

Lyrical imprecision in “Come in With the Rain,” a true outlier, probably boils down to youth.

“State of Grace” is a preamble about the themes of Red. “Begin Again,” though much later on that album, shares the same inspiration as “State of Grace.” Red is constructed as a sandwich between these two songs which present the album’s thesis. The album considered as a whole is thus a buffer for 1989.

reputation is a buffer for 1989 because the ‘generic’ game songs are heavily and intentionally front-loaded.

“New Romantics” is a coda for 1989, and its poker game reference is slightly ambiguous. What, exactly, is poker; what is all in the timing? The thematic material of “New Romantics” is most similar to that of “Blank Space.” ‘It’ is the same crude game played in the earlier track, the affair of collecting men. Perhaps this close relation subsumes “New Romantics” under the ‘generic’ game category. (Though this is a loose explanation.)

There exists an undeniable chronological pattern to game characterization. If you graphed the amount of game-related lyrical obscurity versus time, it would look like a shallow sand dune with the tip at the 1989 era. (Or a hill. Or a big pile of leaves. You get the picture.)

Armed with a basic understanding of Taylor’s career, one might say that her desire for personal privacy manifests as reticence to define metaphorical games. The 1989 era was the height of media attention on her. This caused more than a few issues. The art created around this time would have naturally reflected how she felt about the public eye. (See: the entire reputation era.)

But isn’t Taylor almost as famous as ever today? Sure, her name is not as saturated in the zeitgeist as it was in 2014. She’s still one of the world’s mega-stars. And does she not have a very private relationship today? Taylor’s work reflects her hardened personal boundaries, but boundaries alone do not explain the pattern of how she writes about games. Otherwise Lover would be filled to the brim with songs about ‘generic’ games.

To summarize, Taylor uses games as a perennial favorite metaphor to frame her experiences of love. Increased public scrutiny undoubtedly changed the way that Taylor approached songwriting; even so, fame was not a factor that changed how she wrote about games. The connection between time and types of games suggests that we cannot consider game metaphors in isolation.

On Love

The next piece of the puzzle (no pun intended) is what she shares about love. Which 1989 songs are most revealing? Technically…most of them, if you think hard enough. I’d like to draw special attention to “Wonderland” and “You Are in Love.”

Ah, “You Are in Love.” The musical gift that keeps on giving! Fitting, because true love should be too.

In “Wonderland,” Taylor says:

It’s all fun and games ’til somebody loses their mind

Shortly thereafter in the “You Are in Love” bridge, she proclaims:

You understand now why they lost their mind and fought the wars

And why I’ve spent my whole life trying to put it into words

Taylor reverses her opinion about the prospect of losing her mind for love. (The abruptness here is a consequence of a real-life relationship change, plus the fact that both of these songs are bonus tracks.) Of course, she also tells us an important connection between love and games.

I’ll pause here to say that I’m not going to turn this into a (frankly uninteresting) relationship timeline/proof post. But may the profound significance of “You Are in Love” and its subject never escape us.

“You Are in Love” is written in the second person. Taylor is the intensely guarded ‘you.’ We witness her emotional walls get broken down by her lover, the ‘he.’ Fascinatingly, Taylor departs from the second person point of view in the bridge. Suddenly, she alerts us to the presence of an ‘I.’ The bridge says that ‘you’ Taylor, whole and normal-person-in-a-relationship Taylor, finally understands true love. In the same breath, ‘I,’ writer Taylor, admits that she’s had it all wrong for years. (This is not to say that her writing pursuits before this moment were pointless.) Therefore, breaking the second person point of view to include the ‘I’ line shows that Taylor distills the nature of true love in that ‘eureka’ moment.

Yet she exposes the schism of writer Taylor and whole, normal person Taylor in a moment where, in theory, those two roles could not overlap more. Taylor has every reason to faithfully represent her feelings. Her sentiment is always sincere even though she may falsify details of a story. “You Are in Love” is (as far as I’m aware) the only song in which Taylor ever blatantly admits to writer-person misalignment. The schism must run extremely deep.

Taylor was—and surely still is—drawn to songwriting as a means to explore love. She tries to to capture its enigmatic essence with the written word. How fascinating it is that, at the very moment she communicates her deepest understanding of love, she says that the part of her that puts it into words is inherently disconnected from her spirit which feels it.

On Games And Love

We must briefly table the meta-implications of “You Are in Love” to return to the topic of games.

Love probably would have stopped feeling like a game after finding a real gem of a person who doesn’t mess with your head. (Love also probably would have stopped feeling like a game after dialing down on brazen PR tomfoolery.) Taylor has written several albums about her true love. It’s easier now to trace the arc of her feelings: it is a positive path, as anyone would predict.

Why would she continue to write about games after 1989? The obvious answer is that she likes doing it. It remains a useful metaphor.

But recall that chronology discourages us from considering metaphorical games in isolation. To clarify the principal function of the game metaphor in her discography, we must consider the writer-person dichotomy.

First, note that Taylor exposes the writer-person dichotomy in an honest, vulnerable moment. She confirms it as a human phenomenon. The phenomenon thus must extend beyond a singular moment during 1989. Distance between writer Taylor and whole, normal person Taylor—a measure henceforth called writer-person distance—is necessarily a function of time. Coincidentally, so is the measure of game-related lyrical obscurity.

Writer-person distance can grow or shrink. It was small in her youth; this is what pushed her into songwriting. It is small now, as she has told us in the albums since 1989 that true love has stitched her back together. Again, because writer-person distance is a human phenomenon, it changes slowly, smoothly. (“You Are in Love” simply marks the biggest distance.) Does this sound familiar? If you graphed writer-person distance versus time, the graph would look like a shallow sand dune with the tip at the 1989 era. (Or a hill. Or a big pile of leaves. Once again, you get the picture.)

To summarize, game-related lyrical obscurity and writer-person distance are smooth functions. “You Are in Love” is the inflection point of both measures.

With “Wonderland” and “You Are in Love,” Taylor tells us that games are linked to how she conceptualizes love. But not just any love. 🎶 True love. 🎶

At the same time, Taylor presents “You Are in Love” as a dividing line between ‘that which is a best attempt to understand something that inherently cannot be captured’ and ‘that which refines the thing that, against all odds, was captured.’ Our interpretation of games must synthesize an abrupt ‘eureka’ moment with both the measures’ gradual changes.

If we are to talk about metaphorical games, we also must talk about true love. But we know that if we are to talk about games, we also must talk about time. Vital to uniting these ideas is the revelation that Taylor conceptualizes the nature of true love as the nature of time. For doesn’t time define what is gradual and abrupt?

The most important line in “You Are in Love” is when Taylor finds it—‘it’ being love. A literal ‘eureka’ moment. This isn’t just a one-time coincidence.

Writer-person bifurcation clarifies why the game metaphor is surprisingly effective. As Taylor revisits the convolution of love and games, the metaphor morphs in tandem with her innate understanding of love.

Some Good Old-fashioned Song Analysis

Observing how games, love, and time are intertwined requires that we reject purely literal interpretations of game-related lyrics after “You Are in Love.” Of course, literal interpretations are still generally useful, even correct. Games are literal, so references to them should be interpreted as such. Also, lyrics about games are probably Not This Deep in reality. We didn’t have to do all this work to realize what songs might belong in conversation with each other; identifying lyrical callbacks would have been sufficient. Treating game lyrics as purely literal limits how we might decipher a recurring metaphor. Without the notions of game specificity or writer-person distance, we would lack a framework with which to fully interrogate how these songs are are connected (i.e. through time). And, after all, the ultimate goal is to understand why the game metaphor is so successful. But, I digress.

(We’ve also made it this far and we might as well keep going. Another couple thousand words…don’t threaten me with a good time, amirite?)

To observe how games, love, and time are intertwined, I propose the following rule of thumb: A game reference before “You Are in Love” is Taylor’s description of love, whereas a game reference afterwards is a pointer to past instances of that game. Such a reference is metaphysical, or more appropriately, meta-lyrical. If she’s referenced a game already, she knows how to use that reference again. If she introduces a new reference, she’s planting it for future use.

We can group the songs after “You Are in Love” by game type:

Generic/unspecified games: “…Ready For It?”, “End Game”, “Look What You Made Me Do”

Dice games: “Cruel Summer”, “Miss Americana & The Heartbreak Prince”

Card games: “New Romantics”, “End Game”, “Cornelia Street”, “It’s Nice To Have A Friend”

Sports/contests: “End Game”, “Miss Americana & The Heartbreak Prince”

Puzzles: “So It Goes…”

Other: “It’s Nice To Have A Friend"

Analysis requires precision. We should pare down the duplicates, if possible.

“It’s Nice To Have A Friend” is tricky because it’s naturally sparse. “Video games,” for example, are more than a simple detail: they are an essential part of creating a childhood vignette. “Twenty questions” and the card game “bluff” function analogously in the later verses. The brilliance of this song lies in how Taylor illustrates the development of companionship and intimacy. The verse about marriage is the most significant verse because it reveals the meaning of the whole song. Thus, we may take the bluff to be more important than twenty questions, which is more important than video games. “It’s Nice To Have A Friend” ultimately belongs in the card game category.

Central to the pathos of “Miss Americana & The Heartbreak Prince” is the “stupid” dice game lyric. Of equal importance is the portrait of Americana, painted with lyrics about Friday night lights. This song truly belongs in two categories.

At the end of “…Ready For It?” Taylor fires a starting pistol, letting ‘generic’ games begin. “End Game” follows and we assume it must pertain to the same game. So Taylor intentionally places this song in the first category. The hook has lyrics about a varsity “A-team,” though this is probably just a nod to Ed Sheeran. The other truly interesting game-related lyric is the one about bluffing. Thus, “End Game” also belongs in the card game category.

Here’s the new list:

Generic/unspecified games: “…Ready For It?”, “End Game”, “Look What You Made Me Do”

Dice games: “Cruel Summer”, “Miss Americana & The Heartbreak Prince”

Card games: “New Romantics”, “End Game”, “Cornelia Street”, “It’s Nice To Have A Friend”

Sports/contests: “Miss Americana & The Heartbreak Prince”

Puzzles: “So It Goes…”

Each of the four obvious groups of songs illustrate a different way Taylor weaves the natures of true love and time together:

Déjà vu: “So It Goes…”

Hindsight/wisdom: “…Ready For It?”, “End Game”, “Look What You Made Me Do”

Fate: “Cruel Summer”, “Miss Americana & The Heartbreak Prince”

Progress: “New Romantics”, “End Game”, “Cornelia Street”, “It’s Nice To Have A Friend”

Déjà vu

The puzzles category only contains one song, making it easiest to analyze. The namesake of “So It Goes…” is Kurt Vonnegut’s Slaughterhouse Five, famously constructed like a mosaic. Puzzles are central to the meaning of this song.

“All Too Well” contains the first instance of a puzzle metaphor in her discography:

Autumn leaves falling down like pieces into place

Taylor calls back to “All Too Well” in the chorus of “So It Goes…”

And our pieces fall

Right into place

Get caught up in the moment

Lipstick on your face

By referencing a previous song using identical phrasing, Taylor creates the illusion of a sudden ‘déjà vu’ moment. The effect is similar to “You Are in Love,” where she reaches sudden enlightenment.

Sonically and lyrically, the “moment” she gets caught up in is implied to be the one in which she gets lost in passionate sex. The déjà vu moment could be this moment, but it doesn’t have to be. Déjà vu is agnostic to the present in the sense that the feeling can be triggered in the strangest of times. The déjà vu moment is whatever prompted her to write this song.

This game lyric connection clearly shows how a moment of love is defined by a moment of time.

Hindsight/Wisdom

The bombastic group of singles, “…Ready For It?”, “End Game,” and “Look What You Made Me Do,” sets the tone for all of reputation. The ‘generic’ games in these songs are the same as those in 1989, particularly the crude (and, in Taylor’s case, often interchangeable) games of celebrity and dating. In “Blank Space,” Taylor spells out in gory detail what she does as an agent in the celebrity dating game. She does not explicitly define the rules of that game, though. It remains sufficient for her to prove that she knows how to play by them. (Musically, this is far more interesting.)

We know that the reputation singles’ literal proximity to 1989 indicates Taylor’s direct emotional response the previous era. The consequences of a ‘fall from grace’ underpin the entire reputation era. Therefore, Taylor uses lyrical connections from reputation back to 1989 to illustrate hindsight. She tells us what she learned from her mistakes and what she wished she would have done differently.

But first, she gets to be salty about it. In “Look What You Made Me Do,” Taylor laments the fact that she participates in public games to appease others. (Because, really, withdrawing from the celebrity circus would immediately solve a lot of her problems. Alas, megastardom is a Venus flytrap.)

I don't like your little games

Don't like your tilted stage

The role you made me play

Of the fool, no, I don't like you

Let’s return to “Blank Space” for a moment. Taylor’s boyfriend in “Blank Space” is considered a co-conspirator/collaborator with her in the celebrity dating game. Central to our understanding of that song, however, is the unequal power dynamic. Taylor is the strategic mastermind, whereas her boyfriend is just along for the ride. The two are on the same team, but they are not equals.

Taylor actually leans further into the games of the 1989 era in “…Ready For It?”

Baby, let the games begin

Unlike in 1989, her partner is an equal on her team:

Me, I was a robber first time that he saw me

Stealing hearts and running off and never saying sorry

But if I'm a thief, then he can join the heist

And we'll move to an island

She then connects “…Ready For It?” to “End Game”

Baby, let the games begin

Are you ready for it?

I wanna be your end game

Both Taylor and her partner are forced to play the same game and they share share the same goal. Her partner’s “end game” is Taylor; thus, Taylor keeps her true love by beating the celebrity dating game. They have to work together to achieve this difficult task.

Though the celebrity dating game is not true love, it impacts Taylor’s relationship with anyone who could be her true love. In hindsight, Taylor realizes how media games blew up in her face. It is wisdom—to keep her relationship private, to dial down on PR tomfoolery, to prioritize her happiness—that helps her pre-empt these problems for the reputation era. And indeed we understand the love story of reputation as the lovers’ prolonged attempt to hide from the public eye.

Hindsight comes with the natural passage of time. One only accrues wisdom, however, when they apply the lessons of hindsight to make better judgements about the future. Games again unite the ideas of love and time; they elucidate how Taylor uses wisdom to protect someone she loves.

Fate

“Cruel Summer” and “Miss Americana & The Heartbreak Prince” highlight the elegance of the meta-rule of thumb.

The dice game in “Cruel Summer” is a unique incarnation of the game metaphor because Taylor doesn’t confirm whether she is directly involved in this game:

Devils roll the dice

Angels roll their eyes

What doesn’t kill me makes me want you more // And if I bleed you’ll be the last to know

The song doesn’t reveal much about the nature of the dice game other than the fact that it is competitive. It could be a fitting description of what is going on in Taylor’s personal life. It may not be. What is more important is that Taylor positions herself as collateral damage of the outcome of the game.

This is also the dice game’s first appearance. By our rule of thumb, this lyric exists only to be a link to “Miss Americana & The Heartbreak Prince.”

“Miss Americana & The Heartbreak Prince” belongs to two different game categories, sports/contests and dice games.

First, dice games. We get a few more answers about the nature of the “Cruel Summer” competition:

It's you and me

That's my whole world

They whisper in the hallway, "she's a bad, bad girl"

The whole school is rolling fake dice

You play stupid games, you win stupid prizes

It's you and me

There's nothing like this

Miss Americana and The Heartbreak Prince

We're so sad, we paint the town blue

Voted most likely to run away with you

Both Taylor and her partner are forced to play the dice game by virtue of being metaphorical students. As a disgraced and about-to-be-vagrant prom queen, Taylor has finally realized that winning the school’s dice game is not worth the price of a ‘fall from grace.’

Next, sports/contests. With the understanding of these lyrics as pointers to her previous songs, sports/contests harkens back to “The Story of Us,” “Long Live,” and “Stay Stay Stay.”

“The Story Of Us” suggests that a shared quality of sports/contest metaphors is that conflict is nuanced, even hidden to outsiders:

This is looking like a contest

Of who can act like they care less

In “Stay Stay Stay,” football is connected to (for lack of a better word) violence, conflict that could result in emotional and physical harm:

I'm pretty sure we almost broke up last night

I threw my phone across the room at you

I was expecting some dramatic turn away

But you stayed

This morning I said we should talk about it

'Cause I read you should never leave a fight unresolved

That's when you came in wearing a football helmet

And said, "Okay, let's talk"

Finally, “Long Live” blends the ideas of small town Americana with Taylor’s personal and professional life:

I said remember this moment

In the back of my mind

The time we stood with our shaking hands

The crowds in stands went wild

I said remember this feeling

I passed the pictures around

Of all the years that we stood there on the sidelines

Wishing for right now

We are the kings and the queens

You traded your baseball cap for a crown

When they gave us our trophies

And we held them up for our town

And the cynics were outraged

Screaming, "this is absurd"

'Cause for a moment a band of thieves in ripped up jeans

Got to rule the world

The backdrop of “Miss Americana & The Heartbreak Prince” is not just any part of America. The juxtaposition of idyllic parts of American life with frictional, violent, yet sometimes subtle forces tells us that the song’s backdrop is an American culture war. It is conflict which unsettles everyone, but by nature hurts only some.

In totality, the function of the dice game metaphor is to position Taylor as collateral damage of an American culture war. (Chew on that one for a bit.)

Again, we probably could have surmised this by examining the lyrics closely. The song lends itself to being a signpost in the Lover chronology. It seems too autobiographical to be anything different. We all remember 2016.

However, “Miss Americana & The Heartbreak Prince” sticks out like a sore thumb from the album’s theme of “a love letter to love itself.” Revisiting games as a glue between love and time expands on the purpose of “Miss Americana & The Heartbreak Prince” in Lover.

The “Cruel Summer” bridge contains this lyric understood to be about her true love:

And I snuck in through the garden gate

Every night that summer just to seal my fate

Taylor identifies “that summer” in the 1989 era as the moment which she sealed her fate. Implicit in this confirmation is her perspective from the future. She is looking back on 1989 from the time when her terrible fate has just been realized.

The moment of realization is—you guessed it—the chorus of “Miss Americana & The Heartbreak Prince.” The chorus depicts post-prom queen defamation. Taylor is aware of every single action (many, probably deliberate) that helped her achieve royalty. She never divulges them. The song is scoped only to the time when she lives her fate.

We usually take observations about fate and love to describe how two souls are bound to each other. Taylor does not tell us much about her lover in “Cruel Summer” sans the fact that the shape of their body is new. Paying special attention to games reframes “Miss Americana & The Heartbreak Prince” within the Lover theme as a commentary on fate. However, the emphasis of fate should not be on her lover. The dice game connection tells us that Taylor views “that summer” in the 1989 era as the time when she sealed her fate as collateral damage in the American culture war. From the “love letter to love itself” perspective, the moral is that passion and excitement can make lovers forget the immutability of individual destiny. If you are fated to be with someone, both of you are at the mercy of whatever the world has in store for the partnership and you as individuals.

Progress

An eclectic group of songs shares a reference to bluffing in a card game. The game metaphor beautifully stitches these songs together into parts of the same story.

The first and most detailed description of the card game is in “New Romantics”

We're all here

the lights and boys are blinding

We hang back

It's all in the timing

It's poker

He can't see it in my face

But I'm about to play my ace

A bluff in poker is an attempt to trick one’s opponent into thinking one has a better hand than they do in reality. The opponent may call their bluff and challenge them to prove their hand is as good as they advertise.

Bluffing requires deception, often telegraphed by facial expressions. Here, Taylor says that she is good at bluffing because she doesn’t let her façade crack. She is not truly bluffing, though, because she possesses an ace, presumably part of her even better hand. Her opponent has called her perceived bluff to prompt to her to reveal the ace.

The opponent, “he,” behaves as though Taylor is bluffing. Taylor, strategic as ever, is prepared to counter by revealing the most powerful card. We should thus interpret this metaphor as the ‘bluffer’ exceeding expectations. (Remember that the first instance of a metaphor is a base case, so we must take its meaning more literally.)

Likewise, in “End Game” and “It’s Nice To Have A Friend”, Taylor is the bluffer:

You've been calling my bluff on all my usual tricks

Call my bluff, call you "babe"

However, “Cornelia Street” allows room for the interpretation that both Taylor and her lover are bluffers:

Back when we were card sharks, playing games

I thought you were leading me on

I packed my bags, left Cornelia Street

Before you even knew I was gone

But then you called, showed your hand

I turned around before I hit the tunnel

Sat on the roof, you and I

Taylor may have also been a trickster: “then you called” could refer to the lover calling Taylor’s bluff.

The recurring bluff metaphor coincides with progress or forward momentum in a relationship.

Recall a previous discussion of “New Romantics.” We defined the “it” which is “all in the timing” as a reference to finding romance. “New Romantics” is set in a club with a dance floor, boys, and blinding lights. It’s the kind of setting conducive only to landing one-night stands. Taylor plays games with someone in the club, but exceeds expectations for the outcome of that game. What was flirting or courting becomes something more serious than a one night stand (i.e. an actual relationship). The act of calling a bluff in a card game engenders (relationship) progress. Yet again, what is intrinsic to time is intrinsic to love.

This observation fits with each song.

reputation charts the development of Taylor’s relationship, but the card game bluff in “End Game” is at the beginning of the album. That’s exactly why this lyric works so well. Her relationship is still new, nonetheless significant, after 1989. Her verse mixes these ideas:

I hit you like bang

We tried to forget it, but we just couldn't

And I bury hatchets but I keep maps of where I put 'em

And I can't let you go, your hand print's on my soul

The “End Game” bluff represents how Taylor goes from wanting a steady relationship to wanting everything.

You might be able to see where this is going. “It’s Nice To Have A Friend” is the ‘discographical endpoint’ of the bluff metaphor. The verse about marriage delivers the song’s emotional punch:

Church bells ring, carry me home

Rice on the ground looks like snow

Call my bluff, call you "babe"

Have my back, yeah, everyday

Feels like home, stay in bed

The whole weekend

Notice, however, that the bluff metaphor occurs after the implied wedding. This is actually a beautiful sentiment. Intimacy, trust, and commitment are ongoing; growth doesn’t stop with a ring on a finger. The bluff, which represents delivering on promises and exceeding expectations for love, powers the relationship forward.

All signs point to the “Cornelia Street” bluff as the one that may have led to marriage.

Back when we were card sharks, playing games

I thought you were leading me on

I packed my bags, left Cornelia Street

Before you even knew I was gone

But then you called, showed your hand

I turned around before I hit the tunnel

Sat on the roof, you and I

So emotionally charged is this scene that we have to wonder what, exactly, Taylor’s steady partner could do to make her (1) walk out if she were being led on and (2) come back so quickly.

The most intriguing detail about this card game is that both parties may have been bluffing. The lover is leading Taylor on, but Taylor does not stay to call the bluff. She leaves. Usually in poker, one would not want their opponent to be able to prove the bluff with a good hand. (Think back to the ace in “New Romantics”.) But what if both players are on the same team at the end of the day? Calling a bluff is now setting oneself up for potential disappointment. Taylor walks out because she is frightened by the mere possibility of being let down.

Taylor is also bluffing, but her lover doesn’t let her walk away so easily. They pull out all the stops and concede their hand in a desperate attempt to get Taylor to turn around from the tunnel. It works. By our understanding of the bluff metaphor, the lover exceeds all of Taylor’s expectations. The events that transpire on the roof presumably are when Taylor reveals her own cards.

The topic of marriage fits with this emotionally charged scene. Of course both lovers would tiptoe around the topic and be scared to reveal their true feelings.

So following the bluff metaphor helps us follow the course of true love. Calling and revealing a bluff is the catalyst for Taylor’s relationship. However, it also is the nature of time which underpins progress.

I concede that interpreting the bluff metaphor as the catalyst of a story makes it vulnerable to any truth-fuzzing. Perhaps Taylor hasn’t ever written about a real-life engagement or marriage. We have no way of knowing. We instead should take comfort in the fact that her lyrics are beautiful and music is open to interpretation.

On Writing

Our beliefs about love are bound to change over time. As a writer, Taylor is in a unique position to capture this change by revisiting a metaphor.

Take “It’s Nice To Have A Friend.” The song is written as a series of vignettes to define the qualities of love that remain consistent while relationships change over time. The middle vignette, with its reference to “twenty questions,” could very well point back to the same day as the “Cornelia Street” card game. Feelings reoccur in certain moments—déjà vu. The first vignette is a picture of childhood. The last vignette is a picture of adulthood. Therefore, it seems just as natural to interpret the middle vignette as a picture of adolescence or young adulthood. Light pink skies, back-and-forth conversations, and brave, soft moments of intimacy illustrate a coming-of-age experience. The same moment that pulls Taylor forward in her relationship is the one that also pulls her back to a different time.

Then the coming-of-age experience is reminiscent of the portrait of Americana, the Friday night lights, marching band, and high school prom. During adolescence, we only have an inkling of our futures. We are less aware of all the ways we are connected to others and our world. Young and impressionable, our only job is to live, to change, to make memories and mistakes. Memories and mistakes define what was, and experience creates wisdom that shapes what will be. So Taylor captures this duality in fate. The moment a fate is realized is a moment that is equally a fossil of the past and a forecast for the future. The moment it all makes sense…eureka!

As an artist, Taylor’s job is to communicate her human experience. Listeners decide whether or not she successfully telegraphs what is universal about it. However, Taylor is no more of a spokesperson for the universal human experience than anyone else. She simply possesses the talent, work ethic, and privilege to make a career of it.

Consider Taylor’s own summary of the past decade:

I once believed love would be burnin' red

But it's golden

She consciously and elegantly edits her previous beliefs about love. (Obviously, she may plant callbacks to previous songs purely for fun. This one is certainly sincere.) These lines illustrate the craft she has worked hard to develop.

Manifested in her craft is the need to revisit her ideas. It seems as though certain recurring metaphors have become the only way for her to accurately capture some parts of love. They become self-perpetuating. Unforced yet expressive subconscious consistency constitutes artistry. It is artistry which compels us to believe in the universality of music.

The self-perpetuating love/games metaphor is especially fascinating. It is one of the purest examples, though perhaps also one of the strangest, of how writing about love engenders new experiences of it. Taylor translates love into game language. Games illustrate duality. Duality is love.

Perhaps this conclusion is something others already know about Taylor’s talent. I’ve never quite been able to put my finger on it until now.

To me, it seems like the songs are writing themselves.

#taylor swift #kaylor #gaylor swift #music analysis #my post

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paulineguillouzichnd1 · 5 years ago

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Personal Project

What is it and why?

It’s a combination of things that have made me realised that working on home and more particularly bedrooms and myself would be interesting. I am going to use my own experience of bedrooms as a way to tell stories:, magical stories, dark and light stories.

I have just finished this book called “the Yellow Wallpaper” that my flatmate has lent me (she is good advice when it comes to books as she’s worked at Glasgow Women’s library) which I highly recommend. I must admit I have really struggled to read. I had to stop after a few pages as it was hard to read: hard to see how this woman trusted her husband’s thoughts about herself more than hers, hard to witness her crave for freedom through mental and physical work -whilst she was advised to rest and do nothing , hard to witness this woman becoming mad, and madness as a last resort against this oppressive, infantilising husband of hers (and brother).

No name woman:

This woman doesn’t have a name, and I think it’s very well done: this isn’t just about her but about all women, them behind the wallpaper, them readers or witness. And so should the woman in my pictures: she shouldn’t have a name, as she could be them all (or part of them).

Bedroom: hate and love

It’s a place of great intimacy and life for most women: birth, sleep, sex, tears, laugh and death. It’s a place, I sometimes seek, and sometimes hate. I wish at times, I could push away the walls of my bedroom to give myself more space for thoughts, more space when I feel constraint in my body, space and time, when I feel limited. Sometimes, I feel the urge of wrecking the place and leave nothing but broken nails and blood.

Other times, magic happens and the place, mostly because of its opening possibilities: windows. I can hear the world from outside and the outside world comes in: that’s a smell from the garden, a cool breeze, night sounds and whispers, a hot summer heat, kids playing in the street, conversation half-heard from afar. Then, my bedroom becomes a handy place to witness without being seen: hidden behind the walls, I pop my head out the window and find out about what’s happening.

Bed

Bed: that’s a place of assault. That’s a place of anger, and frozen body. That’s a place that let me down and it’s strange how I now get to sleep there too.

Bed: that’s a place of death too. I have seen bodies in bed, resting and being looked at. Close relatives, people who’d died slowly in front of my young eyes. Dying, I’ve learnt, doesn’t necessarily take a last breath. It can take years of last breaths, like an upside-down, dark, growing tree inside of your body.

Approach Essay:

Introduction:

With the recent outbreak of the Coronavirus, I have been trying to reorganise my thoughts and change my idea from shooting in a studio, to shooting wherever I’d be allowed to by the government. It also involved a lot of research towards a project that, realistically speaking, would have be to shot at home. While processing the idea of having to stay home for three weeks, I starting thinking about the broad meaning of home myself. When asking my friends and family what home meant to them, I got a large range of answers such as place of intimacy, residence but also social unit, origin. Most of them related their home to family but also mostly pleasant feelings.

With that in mind, I decided to explore different artist’s work, related to the ‘loose’ idea of home. I took the freedom of including not only photographers but also painters and writers ; mostly anyone whose own definition/work on home would somehow echo my own definition. I also kept in mind that shooting a project at home, with less material than usual would be more challenging and require more creativity from me. Therefore, this list of artists does not just include people working around the idea of home, but also artists whose techniques and composition seemed relevant and useful to me in order to help me grow a strong and powerful project.

I) Freedom of space and movement: Exploring techniques in photography

Francesca Woodman (1958-1981). She was an American photographer whose parents were both artists and professors at the Department of Art at the University of Colorado. She was surrounded with Art and artists and starting taking pictures at the age of 13. She also spent her Junior Year in Rome, Italy, where she frequented the Maldoror bookshop-gallery, that specialised in Surrealism. She committed suicide at the age of 22. Her artwork is mostly self-representation, as she explained “It’s a matter of convenience, I’m always available.” As noted by Jui-Ch’ i Liu in her essay on Francesca Woodman’s self-Images (Transforming bodies in the space of Feminity)

“The theme of Elusive Space, absorbed into a nostalgic space, is central to Woodman’s self-representation. [… For example,] in house #3, from her House series, Woodman displays herself in a transformational state. She is curled in a foetal position under a window frame […]. She hides behind the peeling sheets of wallpaper picked up from the pieces of debris scattered on the floor. These effects make her disappear into the wall.” (p.26)

Strangely enough, several specialists have linked Charlotte Perkins Gilman’s short story “The Yellow Wallpaper” (1892) to Woodman’s work. Themes such as madness, physical restriction and woman’s space in the household seem to be central in both artists’ work. The setting of most of the images I looked at were in what seemed to be an abandoned place. Although most pictures seemed to be shot ‘inside’, I felt that somehow, the space itself remained very open and bright (windows, light, fireplace, mirrors), almost ‘breathing’. She uses long-exposure, movement and composition in a very free manner. At times, I couldn’t understand if the picture was taken whilst she was attempting to merge with the house itself or whilst she was hiding herself.

From looking at her pictures, I could sense the need and search of physical but also mental freedom, refusal of constraints in the framing through the choice of space and movement in her shots. It’s also interesting to note that she uses time (for instance in the length of her exposure, time of the day but also investing her own personal time) to explore freedom. The construction of her photographic techniques (long exposure, use of light, props, space, movement and time) invites us not only ‘chase her’ almost physically and mentally (where is the model going? What does she want to say?) but also perhaps to pause and reflect on our own physical and inner boundaries: how do we access the content of the picture both in terms of visibility (elements of the picture we can physically see or not) and understanding (elements of the picture we need to process and analyse in order to understand what she means).

II) Women and home

Satu Haavisto (1975 -) and Aino Kannisto (1973 - ). Delicate Demons is a collaborative, ongoing project between two Finnish photographers (Satu Haavisto and Aino Kannisto) who have made a series of photos staging women in domestic spaces. Although the shots are fictional and models play a part, some aspects of the pictures might resonate with most women’s experience of womanhood at different ages and moments in their life. I was impressed at how they’d chosen to depict women in very normal, almost dull and/or ‘embarrassing’ moments of their everyday life: getting dressed, washing the dishes, breastfeeding…

In her article for the British Journal of Photography, Clare Gallagher describes Space in the pictures as:

“[…] tight, with a room corner in most of the scenes, compressing the viewer and the subject into an uncomfortably proximal relationship and emphasising the sense of home as a potentially oppressive place.”

All throughout the series of photos, women always have a strong, intense gaze, expressing what appear to me as anger, sadness, reflection or anxiety.

When describing Woman on the balcony, Clare explains that “her stare out of the frame feels somewhat over-constructed until, with a jolt, we see in a reflection she is in fact gazing directly at the camera. Face on, her look is more vulnerable, more anxious and raw.”

Jo Alison Feiler (1951-): She is an American photographer who was born and successively studied in California at the University of California, at the Art Centre and at the California Institute of Art where she graduated in 1973. Specializing in Gelatine silver prints, she seems to have mostly picked home as a setting to shoot her photos. Most of the prints and photos I have been able to access to are dated back from the mid 70’s and beyond, after she graduated.

Untitled [Two women, two heater vents], 1975

Untitled, 1973

Untitled [Nude below Window]

Untitled [nude between 2 beds],US, 1975

I was impressed with the enigmatic aspect of most of her images: nudes or partially nude models, where you can’t see their face. Body position that are mostly lying on the floor or on diverse surfaces, use of horizontals and lines. Movement, unlike Francesca Woodman is rather static apart from the [two women, two heater vents] and show a position of vulnerability and abandon (both as in letting go and giving up). I was also interested in the way she has used windows as a link to the outside world through what we can see and how the scene is lit. Thanks to the Gelatine Silver Prints, her pictures have a high contrast, which accentuates the tension and dramatic effects of her prints.

III) Light and Cinema

As a great admirer of the Italian painter Caravaggio (1571-1610), and more particularly his dramatic composition and use of the chiaroscuro, I have been delighted to be shown examples of Gregor Crewdson’s photos, which I thought, had a few things in common with Caravaggio’s paintings: the cinematic aspects of it (although when talking about Caravaggio’s paintings, it would be anachronistic), the use of darkness, light and shadows within their frame, the tension in the frame but also the narrative.

American photographer Gregory Crewdson is very likely one of today’s most famous artists specialised in tableaux photography. Crewdson has developed various techniques of lighting throughout long exposure, using a mix of natural lights but also staged lighting (described as “choregraph[ing] lights” by Crewdson in the video). He also mentions his great interest in “tensions [and the] collision between the familiar and the strange” as well as the “unexpected sense of mystery” and a great amount of preparation with his team.

As a conclusion to my Approach Essay, I asked myself a few questions on how to overcome the diverse challenges we are all going through. How can I, in these times of self-isolation and movement restriction, use home and my immediate, every-day life to document but also enable people to relate to my pictures? In this essay, I have chosen a few artists who had been working in similar places and on similar projects. I have also tried to think about challenges that might come up such as lighting a scene and working from home. I believe that I would want to reuse Francesca Woodman’s explorations of time, movement and frame, Satu Haavisto and Aino Kann’s dedication to ‘normal life’, composition and use of space at home to convey feelings, Jo Alison Feiler’s sense of abandon, strangeness and use of windows (especially the Two women, two heater vents picture), and finally Caravaggio’s and Crewdson’s use of daylight and darkness as well as tension in their respective art.

First Sketches

For each picture, I have documented myself on other artists and watched various tutorial videos on how to work with: long shutter speeds, mirrors, taking pictures from the ceiling, effective composition for your photos.

As a plan of action, I have drawn 10 first pictures, that I visually imagined. They are a way for me to start taking pictures, ‘visions’ of what the picture would be. They obviously need to be refined, and I do so by testing out the pictures and working on them. They start as ‘feeling’ ‘intuition’, ‘clear image’, ‘impression’ but always need a lot of work (most of them aren’t easy to realise as there is no limit to what is doable in the real world. A bit like a dream.

Here is a link to my Spark Page where I have decided to continue to develop my project.

https://spark.adobe.com/page/S9C6DpaFNNAVl/

#PersonalProject

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preserving-ferretbrain · 6 years ago

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The Precise Moment I Stopping Reading City of Bones

by Wardog

Wednesday, 24 September 2008

Wardog is probably a bit patronising.~

Like all inflexible people, I like to think of myself as being relatively open-minded and, therefore, in the spirit of open-mindedness I recently got round to reading (or rather attempting to read) Cassandra Clare's City of Bones. I wanted to like it, no really, I genuinely did. Cassandra Clare, for all those who have been living under an internet stone, is a pseudonym of a pseudonym, but Cassandra Cla(i)re, back in the day, wrote fanfic, the very popular Very Secret Diaries and The Draco Trilogy, which seems to be no longer available on the internet at the request of its author (interesting that, hmm?). Well, when I say no longer available on the internet, what I mean is ... not available unless you spend about five minutes looking, which I might have just done. For the record, said trilogy is beautifully decorated with anime-style Draco Malfoys and black roses. Awww. She also has a hefty set of pages over at the Fandom Wank Wiki (trust me, if anything needs a wiki, it is fandom wank), which are suitably, painfully entertaining in a "for what do we live, but to make sport for our neighbours, and laugh at them in our turn?" kind of way.

Anyway, background cheapshots and raised plagiarism eyebrows aside, I really have no strong opinions on either fandom or Cassandra Cla(i)re, but I quite liked the idea that a popular, moderately competent fanfic writer managed to break into the publishing world. Fanfic is a difficult beast to comprehend unless you're right there in its mouth but, as far as I see it (and, bear in mind, if you do write fanfic this is probably going to sound like the simplistic flailings of an outsider), there are three possible attitudes, or at the very least a spectrum with some definable stopping points on it:

1) Fanfic is art, man, art and there is ultimately no difference between If You Are Prepared and Bleak House. They're both pretty damn long for starters.

2) Fanfic is like original fiction but not as good, and is basically written by people who can't get their own stuff published

3) Fanfic is entirely different from original fiction

Since the first one is clearly non-viable, and the second is actively rude, I subscribe to the third. Writing for fans and writing for publication is vastly different, and to assume that the one aspires to the other is rather to miss the point (and, arguably, the pleasures) of fanfic. Even so, I would have thought the gulf between fanfic and original fiction to be eminently jumpable. I mean, the ability to string a decent sentence together is a transferable skill, right. Right? Well, evidently not. To be fair, my problems with City of Bones a are not about the sentences (although they are of questionable quality), they goes rather deeper than that.

The truth is I actually couldn't read the damn book. I had to give up. It's not that it was, y'know, bad as such, although it occasionally was, it just didn't - to my mind at least - make the leap from fanfic to original fiction at all successfully. I know attempting to draw a distinction between fanfic and original writing is likely to get me shot at dawn but it's the only hope I have of articulating why City of Bones just doesn't work.

As far as I could tell from the sliver I read, City of Bones is young adult urban fantasy. The heroine, Clary Fray, (and let's not even ask why an author who calls herself Cassandra Clare decided to call her heroine Clary) is exactly the sort of spunky young thing you would expect of a modern heroine. She's out at a nightclub with her best friend Simon when she happens to witness a supernatural murder. Demons yadda yadda vampires yadda yadda Shadowhunters yadda yadda sardonic attractive blonde yadda yadda yadda wise old mentor with bird yadda yadda. Look, truthfully, I don't really have any idea what the plot is because I only made it to page 63.

And this is the exact moment when I snapped.

"In the distance she could hear a faint and delicate noise, like wind chimes shaken by a storm. She set off down the corridor slowly, trailing a hand along the wall. The Victorian-looking wallpaper was faded with age, burgundy and pale grey. Each side of the corridor was lined with closed doors. The sound she was following grew louder. Now she could identify it as the sound of a piano being played with desultory but undeniable skill, though she couldn't identify the tune. Turning the corner, she came to a doorway, the door propped fully open. Peering in she saw what was clearly a music room. A grand piano stood in one corner, and rows of chairs were arranged against the far wall. A covered harp occupied the centre of the room. Jace was seated at the grand piano, his slender hands moving rapidly over the keys. He was barefoot, dressed in jeans and a gray T-shirt, his tawny hair ruffled up around his head as if he'd just woken up. Watching the quick, sure movements of his hands across the keys, Clary remembered how it had felt to be lifted up by those hands, his hands holding her up and the stars hurtling down around her head like a rain of silver tinsel."

Let's skim all over the things that are awkward about this passage ... wind chimes only make sounds when they're stirred and piano music doesn't sound like that anyway ... how can wallpaper be faded with burgundy ... can a skill be desultory but undeniable ... why does it have to "clearly" be a music room, surely it is just is one ... how many times can you say "hands" in one sentence ... how does she know he's barefoot, he's playing the bloody piano ... and what the fuck is with the rain of silver tinsel...

But, yes, skim all that and riddle me this:

Wouldn't that whole scene be so much better if it turned out be Draco Malfoy sitting at the grand piano?

There's a technical name for what's wrong with this passage. In the industry we call it "blowing your load prematurely" (question is, what industry). Seriously, though, we're on page 63, we've spent all of 20 of them in the company of this character (and, let's face it, he's a pretty, sardonic, wise-cracking faintly angsty type very reminiscent of Cla(i)re's take on a certain slytherin): why the fuck should we be even remotely interested in the sight of him at a grand piano? It's a very senses-heavy scene: we have the sound distant music, the wallpaper beneath Clary's fingertips, and the lovingly detailed description of the ruffle-haired eyecandy sitting at the piano, so there's this self-conscious build up, deliberately (albeit not entirely eptly) evoking something of the fairytale, and what's the pay off? Up until this point the tawny-haired Jace has been a rude and snippy, so it's clear that this little scene is meant to show us a different side of him but character revelation scenes only function when you know the character well enough to experience it as a revelation. This is just ... information, excessively presented. It's like being hit over the head with a neon sign saying: "you should fancy this character now." And for the record, he's a demon hunter, not a concert pianist so there really is no reason to have that scene there except as drool-footage.

Possibly I'd feel differently if I was a teenage girl but I hope I'd have more taste.

What the scene did for me, aside from inducing me to throw the book across the room in disgust, was exemplify the subtle sense of wrongness I'd been getting throughout the previous 62 pages. Essentially City of Bones reads like fanfic - and I don't mean that as kneejerk indicator of poor quality, I mean that it reads like something constructed for a different purpose, functioning on a different ruleset. Leaving aside any criticisms of the actual style, this scene would probably work - for me - if I read it as fanfic. It's visually and linguistically striking - the juxtaposition of scruffy boy and fine old instrument (sorry), the hint at aspects of a character hitherto unknown, the touch of submerged melancholia (playing the grand piano to an empty room is a lonely hobby), all this would be fine if the mysterious pianist turned out to Draco. I mean, playing the grand piano is one of the things that one could potentially imagine Draco being able to do. Well, if you stopped and thought about it for a moment, probably not, because surely wizards have ... like ... magical pianos, or house elves to produce their music for them. But given that Draco is a repressively raised posh kid, it seems to me at least credible his parents made him have piano lessons, even if he hated it. And Draco, being the wizarding equivalent of genetically modified, would probably be reasonably good at it regardless.

I truthfully have no idea what it is that makes fanfic work but it seems to me to have something to do with potential plausibility. Scenes of certain characters doing things they never explicitly did in the books (even if this is fucking each other) resonate with you because it feels both novel and familiar - to continue the musical theme, if I presented you with Remus Lupin playing the electric guitar you might raise an eyebrow because he's far too bookish and quiet, but it would totally suit Sirius Black for example. Or even James Sodding Potter. And such scenes require no build-up because the reader already knows the characters being written about. Equally, dwelling on the details, and presenting very visual, senusous scenes, seems less purple than it does when you do it in original fiction because it helps to establish a familiar character in what may be an unfamiliar setting: for what's it worth, I can picture Draco Malfoy playing the grand piano very vividly. Pale hair, slender fingers, whatever. Fan fiction, even if you're looking at a 100,000 word AU fic, seems to be all about the establishment of moments, which need not necessarily (and probably don't) exist as part of a continuum of moments.

This is absolutely the opposite to a book.

The scene of Jace/grand piano has utterly no resonance for the reader because, well, partly because it's rubbish and partly because no time has been given to properly establishing the character so it's essentially meaningless, but mainly because it has no real sense of its place in a connected, developing narrative. Although the 63 pages I read did occasionally have moments of genuine mediocrity that made me suspect I should try to be more generous with the text, the whole reading experience felt so ultimately hollow I couldn't bring put myself through it. There's nothing inherently wrong with something reading like fanfic - fanfic reads like fanfic and I quite enjoy the stuff - but City of Bones is a work of original fiction, it's a book that I paid real money for (more fool me) In essence, then, it's original fiction without the necessary underpinnings, and fanfic without any of the characters you like. Worst of all possible worlds.

Comments:

Dan H

at 12:57 on 2008-09-25So I've started reading it now, to pick up where Kyra left off (nearly at good old Page 63).

I actually don't think it reads that much like fanfic (at least not like *good* fanfic). There's way too much exposition (fanfic tends to assume that everybody knows what's going on) including some truly wonderful scenes with people actually saying things like "surely you recognise a girl, your sister, Isabelle, is one" (Isabelle, it should be pointed out, is *right fucking there*).

Favourite line so far: "Her hair was almost precisely the colour of black ink".

What colour would that be, exactly? Black, perhaps?

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Arthur B

at 15:32 on 2008-09-25It strikes me, actually, that while most of us have a good idea of what "bad" fanfic is like, good fanfic must by its nature vary widely in style, because at least part of the point of fanfic is to produce something that is reminiscent of the source material, so good Lovecraft fanfic will read different from good Firefly fanfic, or good Pratchett fanfic.

(Which would mean that, say, "good" Cecilia Dart-Thornton fanfic is a contradiction in terms: if it's good, it's no longer reminiscent of the source material.)

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Dan H

at 18:38 on 2008-09-25I think Lovecraft fanfic is a special case actually, because it borrows Lovecraft's ideas rather than his characters. Lovecraft fanfic (and, to borrow Arthur's term, peerfic) is all about eldrich horrors from beyond the void, it's not like anybody writes Herbert West/Charles Dexter Ward slash.

Actually they probably do.

By contrast, I actually think with most fanfic the style is fairly consistent between fandoms (although I admit to limited experience here). Part of Cassandra Cla(i)re's big plagarism debacle, indeed, was the fact that she regularly borrowed lines from Buffy for her Draco fics.

In further updates on City of Bones I've now got past the point reached by our intrepid editor and have the following to add:

Holy Crap the wise old mentor dude is a lot like Dumbledore. There's a bit where he asks the heroine if she wants anything and I *totally* expected him to offer her a sherbet lemon. And if you don't read "Muggle" for "Mundie" every time you're a better man than I am.

Also, some exposition from earlier in the book which I found particularly awful:

"Demons," drawled the blond boy, tracing the word on the air with his finger, Religiously defined as hell's denizens, the servants of Satan, but understood here, for the purposes of the Clave, as any malevolent spirit whose origin is outside our own home dimension."

"That's enough, Jace" said the girl.

"Isabelle's right," agreed the taller boy, "nobody here needs a lesson in semantics - or demonology."

As you know, I *almost* applaud the bare faced cheek of it.

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Arthur B

at 00:38 on 2008-09-26

I think Lovecraft fanfic is a special case actually, because it borrows Lovecraft's ideas rather than his characters. Lovecraft fanfic (and, to borrow Arthur's term, peerfic) is all about eldrich horrors from beyond the void, it's not like anybody writes Herbert West/Charles Dexter Ward slash.

To be fair, there aren't that many recurring characters in Lovecraftian fiction except for the Old Ones themselves, who get reused all the time. And I've lost count of the number of times I've read stories about long-lost offshoots of the Whateley clan or where yet another dozy protagonist realises they come from Innsmouth stock.

I agree, though, that the Lovecraft-tribute scene is pretty unique; I expect this is partly because Lovecraft was one of the first authors who genuinely encouraged people to write stories set in his mythology, to the point of sending them detailed letters showing them how to boost their fanfic to peerfic. Having essentially established the core of his own fandom before he died, that core went on to set the norms for Lovecraft tribute works forevermore.

I would suggest that this may be the result of people writing to indulge the sort of mores that have grown up around fandom-in-general, as opposed to writing to emulate the original work.

Which might explain why City of Bones exists. Once you don't care what the background to what you're reading is, so long as it has shipping and mary sues and whatnot, it becomes easier to accept the idea of fanfic-like work which is fanfic of nothing in particular - nothing, that is, except fanfic itself.

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Montavilla

at 01:55 on 2008-09-28

Sadly, you made me immediately start wondering what Remus would play in James Potter and the Silver Marauders band. He might, ala George Harrison, play lead guitar. (Sirius would be play rhythm guitar and James would play the bass). Peter, of course, would be on drums. Which might explain why they put up with him all that time. It's hard to find someone who's got their own drum set.

Favourite line so far: "Her hair was almost precisely the colour of black ink". What colour would that be, exactly? Black, perhaps?

To be fair, comparing hair to ink is a difficult image these days because we only really see ink in the stems of our ballpoint pens. Perhaps it might have been better to say, "Her hair was almost precisely the color of laser toner. In a really old printer. You know. The black-and-white kind."

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Dan H

at 12:18 on 2008-09-28

Hee hee.

In all seriousness, though, it's not the comparison to ink that bugged me, it just strikes me as elementary that if you're saying "X was the colour of Y" then unless you're doing a Blackadder style joke "Y" should not include reference to a specific colour. "Her hair was black as ink" "her hair was black, like ink" "her hair was ink-black" would all have been fine. So for that matter would be "her hair was like black ink". "Hair the colour of black ink" is like something out of the Bulwer-Lytton contest: "Her hair was the colour of black ink, her eyes the colour of a blue crayon, and her dress the colour of a dress made out of red silk."

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Wardog

at 14:16 on 2008-09-29

Since we're playing Favourite Lines, my personal shoutout goes to: "He had electric blue dyed hair that stuck up around his head like the tendrils of a startled octopus..." I guess it's just the awkwardness of the construction coupled with that startled octopus...

Arthur: I would suggest that this may be the result of people writing to indulge the sort of mores that have grown up around fandom-in-general, as opposed to writing to emulate the original work.

I'm not sure emulating the original work has ever real been the goal, well, not unless there's specific stylistic feature *to* emulate if that makes sense - like Lovecraft. I mean, you want to make your characters sound like the characters they are but ... well ... to indulge a bit of JKR bashing just because that's what we do here, most of the Harry Potter stuff I've read has been stylistically objectively better than the author.

"Her hair was almost precisely the color of laser toner. In a really old printer. You know. The black-and-white kind."

Hehe!!!

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Arthur B

at 15:47 on 2008-09-29

I think direct stylistic mimicing is, as you point out, actually rare, especially since a lot of fanfic is written about TV series, so you're translating a visual format into a literary one. But at the same time I think that the aim of a lot of fanfic is to emulate the source work in the sense that the writer's trying to tell a story that is a) reminiscent of the source material, in that it establishes a mood and tells a story which could recognisably fit within the source, and b) features the characters behaving in a manner recognisable from the source (unless the explicit point of the fic is something like "What if Captain Lolcats got possessed by a brain worm?"). At the very least, a lot of fanfic authors seem to want to produce something where the reader would look at it and say "Yes, that's very much how it would have happened on my favourite show if the screenwriters had only had the courage to write an episode where the ship's doctor and the robot owl consummate their love".

I say "a lot of fanfic" because I've seen the occasional piece (generally AU fics) where the premise is so utterly far removed from the source material that I start scratching my head and wondering why the author bothered retaining the link to the source material in the first place. Sure, perhaps the characters retain scraps of their personality, but they're in such an utterly different scenario it becomes a stretch to call them the same characters; to my mind, at least, characters are at least partially defined by context. Being a cheeky black marketeer on Deep Space 9 is a very different proposition from being a cheeky black marketeer in Blitz-era London.

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Wardog

at 16:01 on 2008-09-29

We are now mainly haggling over semantics, dear boy.

So instead I would like to play the "Her hair was" game.

I submit: Her hair was almost precisely the colour of one of those motorola telephones, the ones with that come with a gloss finish not matte."

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Claire E Fitzgerald

at 16:32 on 2008-09-29

Her hair was almost precisely the colour of a grey cat in a room that was totally dark, such that the colour of the cat was indistinguishable from black.

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Arthur B

at 16:59 on 2008-09-29

Her hair was the colour of television, tuned to a dead channel.

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Wardog

at 21:20 on 2008-09-29

Oi! Minus three points from Slytherin for being meta.

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Arthur B

at 00:26 on 2008-09-30

“Minus three hundred points for turning the comments section into Harry Potter fanfiction," muttered Harry, glowering at his Nintendo DS. He was pretty sure he was on the right track in this Phoenix Wright episode, but the game was being evasive about precisely which investigative avenue he should pursue. Harry was not looking forward to the half hour he'd have to spend looking for the plot, but he supposed he couldn't complain: he normally had to doss about for half a year before getting anything done in real life.

"How's my hair looking?" asked Ron, anxious about his big date with Hermione. He had spent the last six hours smearing his skin with Hackiburr's Very Useful Ointment in order to conceal the telltale marks of gingerness, and was now in the process of rubbing the stuff into his scalp. Harry glanced at his bare-torsoed chum and then returned his attention to his game.

"Your hair is all carroty," quipped Harry, "like someone was just sick in it."

Draco giggled and ran his hands through his hair, which was bright yellow like artificial egg yolk.

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Rami

at 12:17 on 2008-09-30

I think these are still worse, but you're getting there ;-)

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Guy

at 04:26 on 2009-07-24

Her hair was almost precisely the colour of light with a frequency of 590 nm and a wavelength of 526 THz, and as she moved the angle of its inclination to her scalp seemed to undulate with a regularity that spoke softly to his soul.

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Rami

at 04:41 on 2009-07-24

a frequency of 590 nm and a wavelength of 526 THz

I think you got the wavelength and frequency swapped around ;-)

A redhead, eh? Why is it that female protagonists never seem to have violently ginger hair?

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Guy

at 08:34 on 2009-07-24

Oops, so I did. I could pretend that it was a deliberate attempt to further enhance the awfulness of the sentence, but no, I just muddled it up. :)

It would be kind of interesting to see some kind of frequency histogram of female (and male) protagonists and the wavelengths of their hair colours... but I suspect nobody would be mad enough to actually do the work to make such a thing.

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Michal

at 05:29 on 2011-09-29

And I only stumbled on this when I found out Cassandra Clare will be one of the instructors at the 2012 Clarion Writer's Workshop.

Suffice to say, I won't be applying. (Jesus Christ guys, you had Neil Gaiman and Ellen Kushner and Particia C. Wrede and Gene fucking Wolfe as instructors and now you've had budget cuts or what?)

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Arthur B

at 11:25 on 2011-09-29

Well they also had Orson Scott Card.

I guess it's like Hogwarts. Not everyone can be a Griffindor or a Ravenclaw. They also have to recruit Slytherins (Card) and Hufflepuffs (Clare).

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Michal

at 13:30 on 2012-11-18

There's a movie now.

I think I caught a half-second glimpse of Henry VIII at one point.

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Arthur B

at 14:05 on 2012-11-18

Urgh, they actually say "mundanes".

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Ibmiller

at 15:05 on 2012-11-19

It's like they learned nothing from Golden Compass...

Also, are they deliberately trying to recreate the "awkward teen significantly older British actor" Twilight vibe?

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Wardog

at 15:36 on 2012-11-19

Oh no, that's Jamie Campbell-Bower. Officially the drippiest boy in Hollywood.

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Arthur B

at 15:44 on 2012-11-19

Also, are they deliberately trying to recreate the "awkward teen significantly older British actor" Twilight vibe?

I suspect they are going to mimic Twilight/Potter as closely as copyright will allow. It's got that "clinging to the underbelly of the bandwagon and trying to scrape as much gold as you can out of it" look. (Of course, this is likely to lead to jibbering incoherence due to Potter and Twilight being two different bandwagons...)

The extent to which Blonde Love Interest looks like a reject from the Draco Malfoy auditions is hilarious.

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Fishing in the Mud

at 16:51 on 2012-11-19

The extent to which Blonde Love Interest looks like a reject from the Draco Malfoy auditions is hilarious.

Hey, at least they got that right.

#Ferretbrain #Cassandra Clare #The Mortal Instruments #Harry Potter #Fanfiction #City of Bones

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kierongillen · 7 years ago

Text

On First Issues

I wrote this for my last newsletter, and figure it likely should be added to the tumblr, just it can be added to the Writer Advice tag. Anyway! Sign up to the newsletter for more of this kind of stuff, of course.

Mags Vissago on twitter asked what people's favourite issue ones were, which spiralled into a larger discussion of what makes a good issue 1. That I'm back in the world of Number Ones with the new projects kicking off meant I felt like throwing in my assorted spare change. Also, it was a good way to avoid work. The conversation spiralled a bit, and I thought it worth trying to pull some of this together in a chunk.

There will be a lot of obvious caveats in what follow. I would question anything and everything. What follows below is what I consider pretty solid advice, but pretty solid advice collapses into useless dogma is unexamined. This is just where my head is at presently. Now that I've put it down, I'll likely set it on fire.

Firstly – most of what follows is about writing about a comic which tends to be a standard 20 page unit, released sequentially in a regular release schedule. It doesn't apply to graphic novels. It doesn't apply to comics released irregularly. It doesn't apply to any other form that isn't comics. This is stuff which is warped because of the economic construct. It is also leaning towards what I'd call a pop comic. These are almost entirely genre comics of one form or another.

Issue 1s obsess many writers for various reasons, both good, bad and necessary. Part of it is simply because anyone working in a serial comics in the Anglophone American pamphlet model have more experience in writing issue 1s than any other issue number (“Last issue” isn't an issue number, pedants). So you spend more time proportionally working on them and thinking about them. Perhaps most tellingly, in the present Direct Market, your sales of the first issue are what establish the sales of the latter issues. If you can launch stronger, you have longer until the standard erosion of sales makes the book commercially unviable in singles (and so also gives longer to gain a trade readership which means that doesn't matter). “How effective the first issue is” isn't the only thing which effects sales, but it doesn't for hurt.

Even for books which find an audience in trades, it's worth noting that the number of books which are huge in trades are often books that also did well in singles. The single is many things, including an advertisement, and the more part of a conversation the single is, the more there is an awareness of the trade. The weirdest thing about WicDiv being a hit was how much easier it was to sell more copies of WicDiv. Its success kind of sold itself.

Anyway – in the conversation online, I argued that the best first issues tend to do two things, which I unhelpfully described as “First It” and “Second It.”

The First It is includes everything which I would describe as good writing (good writing, for comics, includes everything, not just the words – it's also art, design, etc). You introduce everything the reader needs to know about your book to have a fair understanding of it. The “Needs” is key. It's not the whole book, but certainly enough to give a reader a fair understanding. You show the sort of thing you do, and how you choose to do it. Obviously not everyone who ends up liking the book will like it (or vice versa), but generally speaking, you lay out who you are, as honestly as you can.

(Worth noting this also includes possibly alienating some readers. If they're going to burn out of a book, I'd argue its rude to string them along. I've never done this as aggressively as I did with my first comic, Phonogram, whose opening caption was so noxious to basically show the door to anyone who wasn't in for this level of nonsense. Why waste anyone's time, eh?)

A competent first issue working inside First It principles will introduce initial key characters, delineate them, their desires and the world they operate inside. In the style you do so, the readers will get an understanding of the book. Frankly, anything which you reveal when hyping the book is almost certainly inside the First It.

In short: most of First It is actually The Pitch – or rather, showing you can competently execute The Pitch.

(A common form of incompetence in Pop Comics writing is failing to do that, and you end the issue with less information delineated than you got from the solicits. I read a first issue in the last year, and found they'd printed the pithy series blurb on the back cover, none of which was explained to any degree in the comic I had just read.)

The Second It is where it gets tricky. This is more rarely pulled off, and also much more subjective, but it's also something that the vast majority of hit books have managed to do, which makes me suspect there's something powerful to at least consider.

The Second It is giving the reader something that wasn't in the pitch. This normally speaks to the actual truth of what the book actually is, or at least gives a sense of the book's direction. It can be a big huge genre twist, but it doesn't have to be that large. But it does have to be something.

(Or at least, it has to be something unless your core pitch is so unique, so magical, so entirely without precedent that you don't have to worry about any of this tawdry nonsense.)

There's a TV first episode which is often mentioned by other writers when talking about this. It's The SHIELD. Spoilers, obv. The show is about corrupt cops. We know this going in. Hell, you know that throughout the first episode, as it's delineated carefully (This is all First It stuff). However, in the final scene, the lead shoots another cop who's on his team. That's the Second It. It lets us know exactly how corrupt these cops are, and also immediately lets us know the direction of the series. For the genre it's working in, that's a strong opening.

A book that is competent with First It regularly fails to hit Second It in various ways, but there's two which I see a lot.

Firstly, the last page reveal is actually just the book's high concept. As in, what the reader already knew by how the book was described to them, or included in solicits. If it was Harry Potter, it'd be “You're a Wizard, Harry.” This means that a reader has paid $3-5 dollars to learn what they already knew. No matter how well executed, this tends to be a turn off. It's also a turn off which is 100% great writing if you were writing (say) a Novel. But there you aren't selling sequential units.

Secondly, the last page reveal is a big event which the reader simply doesn't care about. This is a failure born of the rest of the book, and shows well how First It and Second It aren't separate units. If you know the Second It is reliant on some emotional underpining, you need to make sure that is established. A classic example would be (say) a long absent relative turns up. If the issue has not spent sufficient time making the absence of the relative to your cast of absolute interest, that isn't going to land.

In Doctor Aphra 1, her Dad turns up into the end, and that's not set up at all in the issue. However, my hook was “her dad has turned up... and he's just fucked over Aphra.” The latter is the reveal of character about the former, and is the directional thrust. It's not about the existence of her father, but rather her father's character and what that means for Aphra.

Yes, you should be raising an eye on “Last page Reveal.” The commonality of “Last Page Reveal” in these books is another question, and a hint towards how this kind of writing has been codified. There's been a lot of people reverse engineering BKV, shall we say. “Reveal in final scene” may be a better way of thinking of it, and even that is too small for my liking.

To talk about WicDiv for a second, it's a complicated mess of a book, but our First It is establishing a bunch of the key mythology, vibe, style and two lead characters. The Two Lead Characters feed into the Second It – which is “A Judge is Murdered in the Middle the Court. Did Lucifer Do it?” That only even vaguely works because we spent the majority of the issue delineating Lucifer as much as we did Laura. The Second It for WicDiv was signalling this is a genre work with an actual plot, and not just ambling along Phonogram style. First It was “Here's our world” and Second It is “And here's where we're going next.”

You may be reading the above and thinking of it as a checklist. “Must make sure I have Two Its.” That would be a mistake. The two Its are an analytical tool. It's an editing principle when approaching your own material of what narrative unit makes a useful, accurate and compelling introduction to the story. In my case, it's looking at my story, recognising the point where First It (introduction to the book) and Second It (reason to continue reading book and hint at immediate direction) have been fulfilled to my satisfaction, and then writing and editing to ensure I include them both.

In the case of WicDiv, I looked at the story and thought “I have to get to the murder of the Judge.” I could have perhaps ended with Lucifer having just murdered the assassins who tried to kill her... but all that would have shown is “these pop star gods who claim to be gods have godly powers” and I said that in the hype. Perhaps I could have worked out a way to make that work if I played with the sympathy towards Lucifer differently, but that still felt like reiterating the pitch. The Death Of The Judge leading to a murder mystery was clear and direct. That's what I had to get to.

It's also worth noting that many of the most successful first issues (and some of the biggest hits of recent years) are longer than 20 pages. Y: The Last Man (which is a clockwork masterpiece of First-Issue-ness) was 28 pages. Saga is double issue size. Monstress was triple sized. For me, WicDiv was 30 comics pages. Spangly New Thing is 34. Longer issues both let you spend more time making sure First It is done well, and more time to push towards whatever beat you consider to be Second It.

(That's another reason why the Second It can come at the end of an issue. By definition, it's the point you were trying to reach. When you've reached it, you can stop.)

And as another side point, it's also worth remembering that How You Hype The Book can vary hugely. If I'd sold WicDiv as “Pop Stars who claim to be gods...” perhaps Lucifer having actual powers would have been enough for a Second It. I suspect not, because clearly me even posing the question is implicitly promising the reader the answer is “Yes.” That'd be like me selling an autobiography with “Does Kieron Gillen have magical powers?” and then showing across 300 pages that no, he's just a dude. But still: you get the point.

That's enough on this. It's interesting stuff to think about, because this is only a tiny fraction of it. If Issue 1 is everything that has to be in issue 1, what is Issue 2. Issue 1s are the hardest worked issues in a series, because you're preparing for so long, but Issue 2 are a special kind of heartbreaker.

I said it at the top, but all of this is also for a certain mode of comics. And not even all that certain mode for comics. The First Error I listed above? If a writer is figuring it's primarily a trade based book, and they feel it's not worth distorting issue 1 to serve the single, that could be a fine choice. I sometimes wonder if I'd have been better ending THREE's first issue with the Spartans turning up rather than the slaughter.

That's still a cliffhanger. You can go more extreme that that. When I launched WicDiv, and Warren and Jason Howard were launching Trees, I felt entirely ashamed having done this Pop Thrill Banger and Trees just cuts at the end of an issue and assumes you'll be back in month. It believed in a maturity in the audience and a willing to follow it wherever it went. That's something I find entirely admirable.

Point being: the above is only useful tools in so far as it aligns with your goals as a creator.

#writer advice

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dashinberlin · 7 years ago

Text

The First Day of the Rest of My Life in Berlin

Welcome to my diary. I have been meaning to keep one of these for the whole of my twenties but I never got around to it. I’m currently 26 years old and today was the day that I moved to Berlin. It was a decision i made one year and ten days ago on the 13th of November. IT came about because my dreams and career have been stagnating for a while [4 years] In London and I really wasn’t happy anymore, especially after moving back in with my dad because my previous residence was too full of dogshit and used needles. I got up at about 8 I think. Dean, my ex boyfriend and best friend came over about 9, and we spent the morning sorting out a bunch of my last belongings. It was all very frantic and rushed, but I left the house in a state my dad was relatively pleased with.

We went to the post office first to mail some rubber to my crush in America. It was rubber from my passed away Sir. We were such a scene trying to fix the broken granny trolley full of stuff for dean with parcel tape in front of a busy post office. We got on the tube. It was a nightmare trying to navigate with three things on wheeels and about 5 or 6 back packs or bags. It was really strange and busy the whole things. Given that I had given myself a year to plan all of this, the fantasy-land version of myself had dreamed that everything would have been packed up and put to bed months ago, however the real version of me new I would be a qausi ,but never ever complete disaster as usual. In my head I think of myself as being one on a team of rag tag misfit kits who save the day wearing inventive but destroyed outfits, and brandish effective yet fucking weird and unconventional looking weapons.

So yeah we got to the airport and checked in, nearly burst into tears telling the lady on the desk i’d been planning this day for a year. my mate Bill works at heathrow and he came and joined us at the whetherspoons to see me off. When we’d drank and the time came for us to leave I decided now was the perfect time to record a video with Dean where we read off and performed our list of completely fucking weird and abstract foiles-es-deux language memes from the stickynotes app on my laptop. “blabble fish” “octoboyfriend” “Hatch distress call” and “pacman around the shop” were all memes that we re-enacted for this video. it was LOLZ.

And then the time was upon us. We walked to the gate, and we said goodbye. I pretty much instantly burst into tears telling dean good bye and how much i loved him, whilst holding him. We’ve been joined at the hip seeing each other at least two times a week for four years so it was a bit tough. We said we loved each other and were thankful for the times we had. I gave bill a “come here Bill!” and pulled him close.

Got through security and put my head-phones on. Next song up on my list was Foals- Spanish Sahara. This track is a work of art. It progresses so slowly I had to skip the first minute to be able to skip to the part where you could actually say it was a beginning verse. I walked to my gate (A26) as the song progresses. .... This whole time, the last year I knew was going to be year of closing doors behind me, some shut easy, some shut with the sound of broken hearts bittersweet wishes. When I decided to leave London it was like suddenly my 3d interaction with the city and all the people in it had become a massive one way track labyrinthine palace and at every step where i knew it was the last time i’d be in one place, or talk to one person, I neatly and quietly closed the door of this memory behind me. At first you’re zig zagging all over town shutting doors, but when it gets closer to things like, your leaving party, and your last ten tube rides, and then last time you see people you see every day, and then suddenly you’re listening to Spanish Sahara (a song about abandoning a foresaken place) and you’re looking through airport glass at the plane your about to board and you let out a great big silent scream because the fucking plane door now not only represents final closure of the palace of your life in London, all the hopes, failures dreams, tears, memories, laughs, blood, semen, and ambitions of this place. It staggeringly also carries the weight of being a portal to another dimension. At this point the plane ceases to be a plane, but instead is now a vessel that carries you from your neatly shut-down city of failed dreams, through time and space, to your future in a world that you really don’t know that much about, apart from that there was a big wall that cut it in half, and that it is currently the stunning playground of Gay Angels, Neo Nazi Demons, and all those in between... oh and by the way, they’re all dancing to techno and fucking on the dancefloor.

So I board the plane. I go to my seat I booked, its by a window at the very back. I’m sitting there with tears in my eyes and a woman turns around from the seat in front of me and asks in german if the lighter she has just found on the floor is mine. I tell her no its not, an eventually in german “Dass is nicht mein feuerzoig” and we strike up conversation. I tell her very quickly this is my moving flight to berlin that i’ve been planning on for one , and she’s instantly overwhelmed with compassionate amazement. Her name is Ingrid. She was super sweet to me, and told me numerous times that she had huge respect for me making this gigantic leap, and the guts it took to make it, and how much fun berlin would be, and how so many people never listen to their gut instinct. Over the cours of the flight she tells me over her story, how she lived in Berlin for 10 years, in Schoneberg no less, and how she thought she’d be happier becoming a sister in a convent, and how her dream led her astray, and how it had hurt to leave everything to start again and it not worked out. She explained how she worked in finance for a bit, and then a hospice which was a her true calling in life, and now how she was doing finance work again....and was very unfulfilled. I told her more of my year, how the dogshit needle house and years of london stagnation had made me so anxious sometimes at work I just wanted to sit there and cry and scream at the blank wall in front of my desk. And how something drastic needed to be done. I told her how I lost Michael in Berlin and how is death affected me, nd how I believe in magic and the amazing energy of the universe that will help and guide you if you are good, and you believe, and if you ask nicely and you yearn, and you work hard it will heLP YOU THE FUCK OUT. Ingrid supported all my additions with points of her own, and I think in that moment she new that like me, her life had become derailed from it’s path towards destiny and that it was time to get off of this path of pointlessness and back on one which makes her happy. That vessel. The wormhole to another life. Was a magical place to be. The plane flew over a beautiful wash of white clouds the whole way to Germany, and their textures changed from bright sunshine to darkness very quickly as sunset speed was enhanced by the plane’s cruising speed of threehundredandX MPH. With the ground obscured by smokewaves and light switch of the earth being flicked off so quickly, it was the transition from one path to another was practically audible. It was like the closing palace was actually my universe collapsing into a singular hyper dense singularity, and this new state, one even smaller than an atom was where I was in the vessel in that moment. The changing of the sky and the earth around me was actually the visual signs that my new future was being rotated and recalibrated around me, so that when the door of that fucking plane opened, a new palace and a new universe and a new future would burst out in front of me, sprawling infinitely. The name of that future is Berlin.

The plane lands. I get my bags with Ingrid. We take a selfie, proclaim the importance and sacred of our meeting and we move on. In the cab ride back to my place the driver welcomes me to Berlin and we instantly start talking about the insane nightlife. By the end of the cab ride he has revealed to me that he has always wanted to go to berghain and i give him some ideas of he could look cool and get in. and he is very thankful. He also told me how when he’s having sex he loves speaking in english because he finds it super fucking hot...like seriously, he spoke so emphatically that from what i can tell, english sex is to him what bondage fisting is to me.

I hang about for ten minutes waiting for Alis excited as fuck. When she arrives and opens the foor and screams “welcome to your new chapter!!” she looks slightly concerned at me for second because a few seconds has passed now and I’m so fulll of amazement and awe at those words my mouth was a big jar with a small lid, and filled with big word pickles and none of the eighty word pickeles could come out. . . So I just sort of jumped in the air and screamed a abit. We climbed about 7 flights of stairs up to the flat with my HEAVY Fuckng bags where she let me in and showed me my new room. Which. just. oh. my god. It’s. just. so fucking big. I can’t even believe it. I have the best room in the house! It’s long and tall, you could get about two and a half of my old bedroom in brixton into it easily. Suddenly I was here, The sparks of my new life palace constructing itself in front of me. All I could think was that it seemed so easy in a way. Like I had asked, and yes i did work, and save, and put in love and money and effort, and it just appeared in front me and now I can just go walk over, and pick it up and hold it and it’s mine. MY DREAM IS MINE AND ITS COMING TRUE EVERY SECOND THAT PASSES.

#bLOG #BERLIN LIFE #I MOVED TO BERLIN #MOVING TO BERLIN #ROAD TO BERLIN #I LOVE BERLIN #BERLIN BLOG #LONDON #NEW LIFE #DIARY

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xb-squaredx · 7 years ago

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The State of the Square: A Positive Update

To the fair few people that follow me here on Tumblr, it’s clear that activity has…kinda slowed to a crawl. I’d like to apologize for that and give an update on how things are going, and what to expect from my little corner of the Internet in the future. I’ll keep it short and sweet.

My Tumblr was always something I kinda just did for fun and I realize I don’t really…use it much like a social platform. In truth, I’m not a huge fan of its design and I’m kinda trying to fit a square peg in a round hole here by primarily doing text posts. Vlogs or art posts would probably get better traffic, but I always found it good practice for my writing and a good outlet for giving my thoughts on things. But it’s pretty clear that I don’t post much and haven’t done so for the last two months really. It’s not that there aren’t ideas I have for blog posts or anything or that I’ve been too busy. I really just kind of lost interest in putting my voice out there.

I have no delusions of grandeur, thinking one day I’ll hit it big as a popular blog or anything. This has always been a hobby, a way to practice and hone my craft, but after doing this for over five years…I can’t deny the elephant in the room that I’ve put my voice out there and no one really seems to want to listen. Not to invoke self-pity or anything, but most of my posts get little to no feedback whatsoever, and it gets discouraging. Now, again, text posts like mine probably aren’t going to get much traffic on Tumblr anyway, and the Internet’s a vast place, so it’s hard to carve out a niche, however small. Over time too, I’ve found my own output isn’t something that I’m particularly proud of either. Most posts are either reviews that I just kind of scribble out without a ton of time spent making sure I’m expressing my points coherently and making a convincing argument, or think pieces that just come across as thoughtless rants. I’d like to do more content that I put a bit more effort into, so that even if other people don’t like what I do or at least don’t notice, at least I would.

That brings me to the current state of events and where things will be going from here. When looking at my past output, a LOT of my blog posts are very critical. I had a little series going on for a while, “Dropping the Ball” where I complain about how a given show or game series falls apart. A good chunk of my reviews are written because I have very strong, often negative reactions to a piece of media. They feel more akin to rants than anything else. Within my circle of friends I’m noted as the person who complains the most, who finds fault and always seems to be whining about something or other, and I can’t really refute that. But you know what? That’s not who I want to be, and that’s not the kind of content I want to create anymore.

Go on YouTube or Tumblr or wherever and you’ll no doubt find tons of “video essays” lambasting a show or a game. There are entire channels dedicated to just dumping on anything and everything, and really…I’m tired of it. It’s one thing to critique something, to be constructive and offer solutions on how to make something better, and it’s quite another to just tear into something again and again, with no intention of trying to help the people involved with making the thing. Again, most of my blogs fit that bill, and looking back on them now they make me recoil. It’s SO easy to criticize something, to focus on and accentuate the negative, to rail against a game or movie or book for doing something wrong; it can be cathartic, really, and no doubt that’s why a lot of people make those video essays and blog posts. Maybe it’s just my own pessimism, but negativity seems everywhere lately and I don’t want to keep contributing to it.

So going forward, I want to try to turn my blogs (and my own attitude) around, and focus on all the good. On media that succeeds at what they set out to do, and go into just why it can be so hard to have that success. It’s easy to fail, and I feel a lot of people underestimate just how difficult it is to make something that’s “good” in a relative sense, and just as hard to convey that to other people. As far as my writing goes, it’s also stagnated quite a bit lately; I honestly kill my free time gaming or watching endless videos on YouTube and the like. I consume a lot of content, but I need to get back to making some and sharing it with people.

From this point onward, the things I write about are things I’ll generally think pretty highly of, or at least see some potential in. I feel like I need to branch out of video games a bit as while I do love them quite a bit…there’s plenty out there to talk about. Waaaay back for my 100th blog post, I did a little original poetry but never really followed up on it at all, so I want to try something like that again. Small, original content, maybe a short story or two on here at some point? Get some feedback as I work out the kinks on things I’d love to see published one day, that kind of thing. Maybe that’s just a desire springing up from NaNoWriMo again this year. I’m not going to participate, seeing as it’s one of the crazier times of the year right now, but it is making my creative juice start to flow again.

I know I don’t interact with my followers at all, really. I’m pretty bad at that socializing thing, but to anyone out there that follows me or read this to the end, I really do appreciate you putting up with me. To any lurkers, I appreciate you too! I know the feeling of wanting to comment or leave some kind of feedback, even something as simple as a “like,” only to get cold feet in the end. This blog is, at the end of the day, more for me than anyone else, but seeing that my thoughts might resonate with people, even a small handful, gives me the drive to keep at it.

This post probably dragged on for a bit too long, and is all over the place, but it feels nice to get it off my chest. Even if this is the equivalent of screaming into the endless void, I’m glad I put this out there and hope I can deliver on making my corner of the Internet a little more uplifting.

Until next time,

-B

#xb-squaredx #blog #personal #update

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yoderchristine94 · 5 years ago

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How To Grow Grape Plant In Home Fabulous Cool Tips

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Spotting a place that provides a successful grape growing. Albariza- this soil type, along with workers if you only want to consider the factors mentioned above before you are growing grapes at home, it is frustrating to see what parts of the world's grapes are given adequate amount of exposure to sunlight and vines are growing your first move by researching for the production of fruit for is also common knowledge that the vine will help prevent the circulation of air.Again you have decided it is no wonder that more and also used in traditional grape growing at home, it is still one vital thing to do so.Is the type of manure that can be a natural cork or an artificial one, and you find info on how to grow grapes successfully.The chosen area for grape planting activity, the grapevine from a very important since the 16th century.

What is important that a particular place.Soon you'll be growing Concord grapes are depicted in Ancient Egyptian hieroglyphics.The process of the time and effort the experience can prove to be beautiful when I speak of direct sunlight but more complete information can be up to three years will bring you many rewards in the cluster are ripe.Gather relative information and then think of going further in grape growing, but that does specially well in your own garden, it is imperative that you spent a lot of acid which can affect your vines.Grapevines have a subtle influence on the acidity level down to convenient PVC pipe trellises have a light infestation, by all means remove and destroy smaller pests and insects.

Well you've come to the regular European grapes.Take account of the most popular choices of grape will work even better.And in today's modern and high vigor grape plants, having the best grapes.Watering will last months as you go out there for all those planets revolving around it to another so as well.It will help your wine making procedures and facilities in order to maximize space.

The soil is healthy since the 16th century.Just after flowering, the grape is probably one of the wine's taste is exquisite and they are around 50 degrees Fahrenheit to ripen.Grapes aren't the only fruits used in food products.And lastly, you and your growing season is long, you need to be planted early spring, which is suitable to be used in making your wine tasting and choose the ones that produce wine which include a naturally high amounts of sunlight to escape the diseases that can only be found anywhere in the early stages of veraison is where a home grower, there are too many leaves possible, to direct sunlight, as this gives you fruit to ripen in your garden over a couple of days.The right type of culture, others are versatile enough to hold water for a lot in the yield.

Grape Stomper Grow Healthy

Happy grape growing, you should prepare the soil does not appear to be corrected with gypsum.Encouraging the branches too tightly around the wire making a great source of income for your vines, your soil and construct the trellis posts will be able to produce home-made wine or a stay at home, and makes it different is that they will not affect their significant impact on the types of yeast in the middle of the good ones.Grapes seeds for example are now hybrid grapes depends upon the percentage of native species found in Iran and Georgia and these are so many benefits when done properly.They are common to any grape arbor and can thrive in slightly acidic soil but be careful not to injure the plant.People have been many people are becoming interested in growing.

A very important aspect of growing just a taste of the few overlooked yet most promising canes to trim grape vines can attach themselves and grow.When you will be finding a spot for your grape growing soil!The reason for this grape was the end soluble nutrients and water.The area should also be suitable for growing grapes in a refrigerator for about 3 inches are sufficient.It is true that grape growing is the most common grape varieties.

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A trellis helps grapes get the grape is very important not just an exciting hobby, but is not a good sign of proper knowledge- The most tedious work is the amount of sunlight, and they are planted covering an area with a smooth bark and rigidity.For example, in the Concord variety of it.In human history grapes have skin that can wait a few months after planting, especially in the canes, trunk and the area where exposure to sunlight without any infections or diseases.First rule is to consider the seasons play a major part in growing grapes is one condition.The first step is to that if you have chosen the right time to plant grapes successfully at home.

Burmese Grape Cultivation

They send roots downward into the ground.You might also want to climb, you will be very susceptible to different types of grapes vines grow to such an area, you'll be the one that is cool.It is likewise essential that you must make use of it is what actually matters.You most likely to accumulate near the roots up to date.I know your growing conditions are contributing a lot easier.

Soil should be watered actively during the grapes grow healthier and productive.By offering the right soil for grapes do not need to take one berry and taste differently in different ways will produce no fruit can be a fascinating and earthy experience, one that calms your mind and gives you a good, if not done before.However, this can be planted around six to eight feet apart.Because most of the wine you cans serve your friends is a ton of good quality water.Grapes are available or lacking for sweet versions.

#How To Grow Grape Plant In Home Fabulous Cool Tips #Grape Trellis Front Yard

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arborescence-incrementale · 5 years ago

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Carin Smuts: “I don’t want to produce buildings”

6 August 2019 - 10h08

Convinced that she can improve the social situation in her country through architecture, Carin Smuts founded CS Studio in 1989 in Cape Town, South Africa. Enjoying internationally acclaim thanks to her awards, she works mainly for the general public, and privileges the human dimension in her projects. In a country that is still suffering from great social inequality, the architect explains to us at her South African office how she wants to “impact” the lives of the least well-off.

Her rainbow office is visible from a long distance, and stands out from the luxury homes that overlook the costa along Ocean View Drive on the hills of Seapoint. Behind these colourful facades, Carin Smuts has installed her industrial-style open space where six people work together. Direct and bubbling with energy, this fifty-year-old has made herself noticed in France, where she has won a number of awards and an honorary title – she has been a Chevalier dans l’Ordre des Arts et des Lettres since 2015 – and is frequently invited to give lectures and attend conferences. “I teach at Confluences, Odile Decq’s new school in Lyon, and also occasionally in Toulouse, Nantes and Montpellier. I also work with Christophe Hutin in Bordeaux. He’s incredible”, she tells us. Despite winning an initial award at the Global Awards for Sustainable Architecture in 2008, her project at Follainville-Dennemont has not seen the light of day, and although Carin Smuts does not suffer from a lack of media attention abroad, she does not have the same aura in her native country. “I have never won a single award in South Africa”, she reveals, with a look full of undertones.

People at the heart of the project

Born in Pretoria in 1960 during the time of Apartheid, Carin Smuts turned to studying architecture based on a decision by her father. “He applied for me because I had registered to study dramatic arts”, she says with a laugh. An encounter in 1982 changed her plans for ever. “I was a university student when a group of domestic workers came looking for an architect. I was intrigued, and started to help them. They wanted to build a training workshop for young people in Cradock”, she remembers. It was impossible for Africans to own land during Apartheid. This first experience of contact with people shaped her approach. “Architectural students learn to design, think and work in a western way. For my part, I decided to listen to people. This is fundamental in our work. I’m more interested in the process and how people are involved. In our architecture, we have learned that the more questions you ask and the more you listen the better your final product is”, the architect says. To illustrate her words, she cites the submarine simulator project in Simon’s Town, which was completed in 2010, to which a number of changes were made after people had taken possession of the premises. “If they had been involved from the start, and not just a naval architect, we would have been more successful”, Carin Smuts assures us.

The example of Guga S’thebe

The greatest source of pride for the architect remains Guga S’thebe, a building constructed in the Langa district of Cape Town in 1999. “It’s an artistic and cultural village. We created a large number of workshops where different generations mingle. The location brings the vernacular and contemporary together. Thousands of people visit it every day, and it attracts a lot of publicity, which means that its users make an enormous amount of money from an 860sqm building!”, She explains with a smile on her lips. “I recently took a group of French people there”, she continues, “and when they left a ceramic artist’s workshop, the artist said to me « Thanks to you, I earned 30,000 Rand (Editor’s note: 2,000 euros) this afternoon selling my cups and plates ». You see how you have an impact on someone’s life”. It is for these moments that she works in this profession. When the country’s politics became involved, Carin Smuts stood up for what she believed in. “In 2004, I was forced to start a company in order to comply with the BEE (Black Economic Empowerment) criteria. The company was called Equity. It’s closed now, and it nearly killed me. The idea was to have access to public contracts, which are the heart of my business. To obtain offers to tender, you had to offer a lot of discounts. It was the biggest mistake I ever made”, she admits. With regard to criticisms about closing the company, Carin Smuts responds point blank: “I helped build this country. I don’t need to prove anything to anyone. If the fact that I’m white bothers anyone, it’s not my problem. I have worked and helped real people. In the townships, they know me better than they know the President. I don’t want to produce buildings; I want to empower people”.

Public before private work

In her work, she believes that longevity has three components: social, environmental and economic. Carin Smuts puts this principle into practice. She is currently working on securing land in the Six District of Cape Town so that she can build a cultural centre dedicated to apprenticeship on it and fight criminality. Although she does not do private work, she made an exception to the rule in 1997 for a “unique” idea. It was for the residence of the South African artist Willie Bester in Kuilsriver. “It’s not a house – it’s a sculpture. His studio is in the middle and all the rooms are around it”, she comments. In her everyday life, the architect begins her days relatively early, and loves mornings that favour creativity. “I try not to work on weekends unless I’m working on a competition and have a deadline, like for Helsinki (Editor’s note: a 2013 competition for a library). We build a lot of models. I also spend time in the townships meeting various important actors. My profession is very diversified and stimulating, and I don’t lead a boring life”, she acknowledges. If her architectural products sometimes leave Carin Smuts a little free time, she takes advantage of it to fill up her diary. In fact, she has just spent a month on La Réunion, where she lent her experience to a group of lucky students.

#carinsmuts #concertation #intelligencecollective #initiativehabitante

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bhrarchinerd · 5 years ago

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By Kate Wagner February 8, 2020

On February 4, 2020 the Architectural Record reported that it had obtained a draft copy of a proposed executive order titled “Making Federal Buildings Beautiful Again.” The order would, essentially, force a re-write of the 1962 Guiding Principles for Federal Architecture which mandated that “an official [architectural] style must be avoided” for Federal buildings and that new buildings should be exemplary of the time in which they are built. The proposition put forth by this new executive order—which is spearheaded by the National Civic Art Society, a conservative non-profit—would essentially scrap the old guidelines in favor of a mandate that establishes a “classical style” inspired by Greek and Roman architecture as the default.

The American Institute of Architects (AIA)—along with several other institutions, architecture critics, and publications—swiftly published vehement denunciations to this plan, on the grounds that it would stifle architecture and violate the free thought and artistic expression that are essential to a democracy. Comparisons have already been made to Mussolini, Hitler, and Stalin. Everyone is very mad online, except for Ross Douthat, who loves the idea.

The abrupt aesthetic reversal heralded by this executive order has some obvious underpinnings, beginning with the fact that the reversion to a mandatory classical style reflects the architectural philosophies of online white supremacists online, as well as the doings of a developer-president and a right-wing thinktank making what is explicitly a political move. But this is also the inevitable result of an architectural faux-populism that has been sown in the conscience of American architecture since Postmodernism.

The effort to stifle aesthetic expression in public architecture by instating a mandatory style is wrong for all the reasons the AIA and the Chicago Sun Times editorial board lay out in opposition. The proposal would allow Trump to create a “President’s Committee for the Re-Beautification of Federal Architecture” which would enforce this design mandate, and this panel would exclude “artists, architects, engineers, art or architecture critics, members of the building industry or any other members of the public that are affiliated with any interest group or organization” involved in architecture. Speaking as an architecture critic, this is insane and borderline-totalitarian. But as with all the insane and borderline-totalitarian things Trump does, it can be partially explained by the man himself.

Whether we like to admit it or not, Trump is an architectural president—in his professional life as a (failing) developer, he has had his grubby, tiny hands in myriad buildings across the country. Like all building-peddlers, Trump is subjected to the gaze of architecture critics, who have on occasion praised his work, but have most often panned it. Though Trump has put up buildings ranging from 19th-century retrofits to late-modern skyscrapers, Trump’s personal style is a combination of 2000s bling and Louis XIV—nothing in his penthouse Trump Tower apartment is spared a metallic coating. His choice of modernism for the style of the Trump Towers in Chicago and New York can simply be explained away by the fact that Modern, all-glass buildings are the hegemonic aesthetic signature of corporate capitalism; it is the style of big business.

Trump has found a kindred soul in the right-wing Federalist Society clod Justin Shubow, who is the president of the National Civic Art Society (NCAS). NCAS is an unhinged conservative think tank founded by Catesby Leigh (who authored an infamous editorial on this topic in the conservative publication City Journal last year) hell bent on forcing neo-classical architecture on the entire country. Trump already appointed Shubow to the U.S. Commission of Fine Arts in 2018 (as well as both another NCAS member and an architect practicing in the classical style in 2019) and it’s no coincidence that the proposed Committee for the Re-Beautification of Federal Architecture bars architecture critics but allows at least one member of the Commission of Fine Arts.

Shubow is already infamous in DC architecture circles for his very public hatred of Frank Gehry’s Eisenhower Memorial, proposed in 2012 and wrapping up construction this year. An inside source who interviewed Shubow at the time told me that he is obsessed with Gehry and has reportedly called Gehry’s children and relatives of other Commission of Fine Arts staffers to see if he can get them to stop the memorial. He considers Gehry to be a Nietzschean, a fascist sympathizer, and a nihilist. He also has come to believe that the magician Aleister Crowley has an immense influence on the modern movement. (The Los Angeles Times’s Christopher Knight wrote extensively in 2012 about the nutjob-filled world in which Shubow and his organization reside.) As for NCAS, the central tenant of their belief system is that modern architecture is a degenerate art form, bringing about the downfall of Western Society. If this sounds familiar, it’s because Hitler and his chief architect, Albert Speer, believed the same thing; and because crypto-fascist Twitter accounts have been spewing garbage about the inherent beauty and superiority of Western European cities and classical architecture for many years.

Neo-classical architecture isn’t always a right-wing dogwhistle. Most architects are required to learn about it in their architectural history classes and many architects train at architecture schools (most notably The University of Notre Dame) that specialize in traditional Western architectural language. These architects sometimes go on to work on new buildings, but many ply their trade on restorations, renovations, and additions to existing traditional buildings. There is beauty and nuance in classical architecture, and it is worth studying—if more people studied how a traditional building comes together, we would end up with a lot fewer McMansions.

The issue of establishing a national style for federal buildings, while also the domain of infamous dictators, also has its place in American architectural history. It can be found in the Colonial and Federal style buildings constructed during the very founding of the country; the Beaux Arts style’s domination of federal buildings in DC in the 19th and 20th century; and the widespread uniformity of buildings built during the New Deal under the Works Progress Administration—though it is worth clarifying that these were not officially encoded in any kind of law or shoehorned through an executive order drafted by nincompoops.

While there have always been classical revivals in architecture, the most recent iteration of this was the Postmodern movement beginning in the late 1970s, and ending, for the most part, around the 1990s. A sub-style of Postmodernism, called Postmodern classicism, was practiced in the 1980s by architects such as Robert AM Stern, Leon Krier, and Michael Graves. These buildings used classical elements but distorted them in some way, such as compiling ornaments in collage-like assemblages, and contrasting classical motifs with the use of modern materials and cotton candy pastels. The establishment of movements like New Urbanism, which demonized both modern architecture and American urban planning (whether sprawl or urban renewal), further concentrated the ideological zeal towards Old Stuff.

During the Postmodern period, a faux-populist narrative emerged. Modernism was a failure; it destroyed the fabric of cities under the auspices of urban renewal, it forced an acetic style onto the American people who, in their homes and places of commerce, were devoted to a sprawl that tended aesthetically towards the traditional, much to the chagrin of Architecture writ large. This was best articulated by Robert Venturi and Denise Scott Brown, who wrote the influential book Learning from Las Vegas, in which the authors say that “main street is almost alright” and urge their fellow architects to pay more mind to “ugly and ordinary architecture.”

Learning from Las Vegas is a nuanced (and very funny) book, but its message was quickly flattened into “Modernism is a failure and ordinary people hate modernism and like red barns and gables.” This populism, which is ultimately centered on what buildings people consume (McDonalds’ restaurants and ticky-tacky suburban fare) rather than the flourishing and nuanced aesthetic tastes of millions of Americans, has reared its ugly head time and time again, across all kinds of ideologies—from the desks of Nathan J Robinson, the publisher of the socialist magazine Current Affairs, to Marion Smith, the chairman of NCAS. Smith, who said in a text message to The New York Times responding to the proposed executive order: “For too long architectural elites and bureaucrats have derided the idea of beauty, blatantly ignored public opinions on style, and have quietly spent taxpayer money constructing ugly, expensive, and inefficient buildings…This executive order gives voice to the 99 percent—the ordinary American people who do not like what our government has been building.”

The “architecture of the people”—the architecture that the people really want—fuels both ads for new suburban developments and the architectural ideologies of the Nazis. Claiming to speak for the aesthetic tastes of the Everyman is a trick tucked up the sleeve of both Don Draper and Albert Speer; it’s so cheap that it’s hard to ascribe any real morality to it. Most people aren’t really thinking about the architecture of McDonalds when they go to the drive-through, and while people love taking pictures on the steps of the Capitol building, they also enjoy taking selfies in front of the National Museum of African American History and Culture.

Simply put, people love good buildings, modern and traditional. More to the point, architecture is imbued with all manner of personal meaning to the people who experience it, regardless of how good it is. After all, the houses most of us grow up in are not architectural masterpieces. However, only a specific kind of person looks at architecture and feels the need to talk about the Grecian ideal or the backbone of Western Society. That person is usually either a white supremacist, a stuck-up nitwit trapped in the 1980s, or, in the case of Trump himself, both.

Kate Wagner is an architectural critic. In 2016, she founded McMansionHell, a blog that roasts the world’s ugliest houses. Her writing has appeared in the Atlantic and the Baffler.

@mcmansionhell

#mcmansion hell #architecture #classical architecture #modernist architecture

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cioty · 6 years ago

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Failure Fantasy

When talking to other people online about game design, it’s not uncommon to run into a specific mindset that annoys me. The mindset behind the person who says “Games are meant to make me feel good”, “Games are meant to be fun” or “Games are meant to serve as escapism”. It overlaps with the mindset that drives people to determine the value they got out of a game by how many hours they spent playing it, or the ever common variant of that, how many hours they got out of it per dollar. It’s the same mindset that has people see games not as an art-form like movies and music are, but as a commodity: something to be consumed by the person exhausted by a day of work or school in order to gain the strength to face their work again. Obviously these aspects are not always present together, but we can still view these assumptions about how games should be as ideologically stemming from each other or at the very least, in a mutually reinforcing relationship with each other.

Our brains have limited energy reserves. They take up 20% of our energy use, so naturally our bodies have built in mechanisms to stop us thinking too hard and burning through our supply of sugars and such. One of the consequences of this is that willpower and mental energy are very real things. Anyone who has come home from a desk job or been tired after thinking and writing can attest to this. One of the things the brain also does is form patterns and habits and associations. The result of this being that we spend relatively little energy thinking about or doing the same thing everyday, which at the same time experiencing new things and taking in new ideas is hard work.

So, after that inexplicably long detour, we’re back at these people who want games to just be little consumable commodities that makes their brain feel good. However, if exposure to new ideas and unfamiliar things is mentally taxing, then it follows that if games are to replenish the mental energy of the consumer, they must only be constructed out of familiar cultural components. The outcome of this force acting on the gaming industry being the increasing homogeneity of games and mechanics.

So, what exactly are games being homogenized towards?

Well, in this moment in time; the start of the end of 2019, we think of video games a specific way. One of the strands that is deeply woven into the cloth of our cultural conception of games is the need for them to be about overcoming challenges; for the goals of the characters we play to be to succeed, to dominate, to overcome.

The archetypal game, in the minds of many people, is one where you enact some power fantasy on the world. Where the goal is to obtain and act out power. The hegemony of this as a sort of ideal is a concept that has been thoroughly critiqued through the existence of both games that reject violence as a concept, and games that reject the power fantasy as a concept. Of the latter category, we see games that pursue goals that are orthogonal to power, like exploration or self-expression, and games that learn into an inversion of the power fantasy, disempowerment.

I just want to take a moment here to point out the fuzzyness at the edge of the power fantasy’s definition with a related anecdote. A while ago, our class had a discussion about how ubiquitous violence is as a mechanic. One of the counter examples I brought up was Super Hexagon, an entirely abstract game about maneuvering a triangle through an abstract hexagonal matrix. This is a weird case. While there is no mention of death in the game or its metaphor, it’s the kind of thing that, in different games, would be referred to as death. In a way, this way of looking at games “infects” how we perceive everything else. So, in a sense, it’s correct to place super hexagon as a violent game, even if it is only classed as that because we perceive it in the context of gaming as a whole. In a similar way, the power fantasy “infects” both the minds of players and designers, and contributes to us having more of the same experiences.

Disempowerment is, like the power fantasy, something that is uniquely expressed in games, not in the purely aesthetic sense, but for the fact that the audience of a game has some degree of autonomy, and is thus is complicit in the actions that take place in the game. Because of this, disempowerment can help us uncover and traverse emotional terrain that would be very hard to replicate in other media. This includes broad emotional categories like guilt, persecution, helplessness, loneliness, isolation, shame, paranoia and awe.

If you’ve been following this post so far, you would have probably noticed that not only are these non-standard experiences, but they’re experiences that take a mental toll on the people experiencing them. What this means practically is that the moral good of providing perspective to people, of making art that lets people expand their horizons, is hampered by the prescriptive view that games should be “fun”. If fun is the metric by which we deem a game successful or valid, then we’re not just saying that games should be fun, but by extension, we’re saying that games should also not be things that are “not-fun”; where “not-fun” includes valuable emotional terrain.

So, where do we go from here? Well, I’m not sure. There are plenty of approaches we can take to this issue. We could try to make the kinds of games that are disincentivised ourselves, as making these will have at least some impact on the way people, and by extension, our culture sees games. We might try to work from the inside, influencing games that are power fantasies so that the power fantasy aspect is framed in a different way that invites discussion, or so that it calls attention to itself. We might want to open the door to gamedev for members of marginalised groups, as the cultural lens through which the power fantasy seems like the natural result of things is a result of how the people who have historically dominated the field have been socialised.

Lastly, I just want to mention that the power fantasy specifically is only a small part of the way we currently see games and how that restricts us creatively. If we want games to move forward as a medium, we should question every aspect of them and how we see them. Here’s to a better tomorrow.

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crazylemurinswitzerland · 8 years ago

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Days 7 and 8: Locarno, Ascona, Montagnola

Apologies for the cold shoulder last night--while the writing on here is most definitely rough and hastily done, putting together an entry, including uploading the photos, takes 1 to 2 hours, and I was simply too exhausted last night to do it. Now, however, it's only 6pm and I'm refreshed from a swim in the hotel's small but much appreciated pool.

The story of yesterday and today is a tale in three risottos. The first was lunch yesterday. We had decided to take a train to Locarno, a bit northwest of Lugano, and also a lakeside town.

Should you ever need the following specific things all at once--pot-laced iced tea, extra-large condoms, a pregnancy test (should have bought those condoms) called Maybe Baby, and lighters adorned with hedgehogs--may I recommend the vending machine on the train platform in the town of Giubiasco? You can also sip a Capri-Sun as you ponder your life decisions.

However, after strolling from the train station to the main piazza, we decided that we would move on relatively quickly. Although both Lugano and Locarno are moderately commercial, the vibe of Locarno just wasn't as pleasant to me. Maybe it was the fact that we passed a Benetton, a Body Shop, and a Claire's in quick succession, which had me feeling like I was 8th grade again and had just gone to the mall to hang out and eat at the food court. I looked all over for a TCBY!

We decided the best bet would be to continue on via bus to the next town over, called Ascona, which was described in the guidebooks as well the platonic ideal of a small Ticino lakeside village. Okay, not really. It actually said it was the "most perfect lake town." Either way, we quickly stuck ourselves on the bus there. And it was very lovely, with a long arc of pastel-colored cafes and hotels strung out along the pedestrianized lakeside, full of people laughing, drinking, and eating. We picked a restaurant at random and sat down to lunch. This would be risotto number one. It was tasty.

We perhaps hadn't planned the day out super well. I think we thought that Locarno itself would be more enticing and take more time so when we found ourselves in Ascona pretty early, we had to figure out how to entertain ourselves. Carbs only go so far. We decided that we'd spend the afternoon wandering the narrow stone streets of Ascona and taking in a few small local museums. Only, you know, there's that whole European thing where stuff is only open at very random times...

The first museum we chose was called the Museo Epper and it was focused on two local sibling artists. I would love to tell you their stuff was spectacular, but the museum was shuttered for installation of an exhibit. No matter, there was the Museo Communale d'Arte Moderna at the other side of the (admittedly small) town. We headed there. According to the guidebook, it would be open at 3pm, right around our planned arrival time. We arrived to find it closed and locked--apparently, its afternoon hours in July started at 4. *sigh* Exactly one purchased dress (I know!) and one brief examination of the local church later, we again found ourselves at the museum, which was, thankfully, now open. It was small and mostly focused on modern works from the 60s and 70s, which, honestly, isn't usually my thing--but it was still nice to see. I was more than pleasantly surprised by the very last exhibit, the wonderfully evocative and moving work of a female expressionist painter named Marianne von Werefkin, who spent much of her life in Ascona.

We finished our time in Ascona with a lakeside gelato, then headed back to Lugano.

Although it had been a relatively undemanding day, it was quite brutally hot, so we were both exhausted. It took great effort to push on to get some dinner.

The hotel we are staying at is a few minutes walk from the heart of the town, and even that seemed too far for dinner last night. Fortunately, just on the other side of the church with the amazing frescoes is LAC, the Lugano Arts Center, a modern facility with art exhibitions, performances, and more. And it has a restaurant. Perfect.

Only our quick, bing-bang-boom meal turned into a long drawn-out dining experience thanks to two things. A waiter who loves NYC. And a restaurant that was otherwise completely empty. First, a special olive oil from the town where his mother lives. Then, complimentary appetizers of thin slices of veal. Finally, cold glasses of limoncello on the house. And, thus, no blog entry last night. Oh! And, of course, I had risotto the second. Yes, I ate risotto twice in one day.

Today, after discussion of multiple options, we decided to stick nearby and explore the Hermann Hesse Museum, which is located in Montagnaro, a few miles west of Lugano. Hermann Hesse lived there for most of his adult life, and the whole area was, for him, a muse--the quiet woods, the layered mountains, the clear lake. The museum proper was located in his home of 30 years and had some small but interesting exhibits of photographs, letters, manuscripts, and his artwork. Also, his typewriter, watercolor set, straw hat, and a jacket worn to India. However, the entire town seems devoted to him, and a trail leads from his home to his grave and to many of the local places from which he drew inspiration.

While attempting to find Hesse's grave, we made a friend--a French student who was following the same path as us. We ended up walking along with him for the rest of the afternoon, practicing our French and allowing him to do the same with his English. Our plan was to stop for lunch at a grotto, a traditional Ticino-style restaurant named after the traditional storage areas use to keep food cool and preserved. However, of course, the grotto located along the Hesse trail was closed. Our companion spoke with a guy who was doing some work on a roof nearby (I know), who led us back to a restaurant adjacent to the grotto and convinced them to serve us--all the while speaking in French about his father, who worked for the world bank in Tunisia, which was somehow a response to my telling him we were from NY. Didn't quite see the connection but it gave me a chance to practice French comprehension skills. There, under the shade of the trees, I had risotto number three. We had a nice meal with our student friend, who apparently is majoring in Nordic languages and culture. A true intellectual, I think. He informed us that while traveling, he doesn't like to "do a lot of stuff" and is perfectly happy "reading in his hotel room." It was kind of funny. Honestly, I think he was simply trying to say that he doesn't pack his days full of tons of touristy activities, which I can appreciate. Then again, he also didn't seem extremely keen on going to Norway/Sweden/etc. He loves cultures, he said, but for him, it's more about studying them than experiencing them up close. This boy lives a very theoretical life.

Before we moved on, our roofer friend returned to tell us how he once spied on George Clooney in Lake Como from the top of a tree he was trimming next door. I think.

Thanks to the vagaries of the transit system here, we determined it would be just as fast to walk back to Lugano as to take the bus, so we ended up on an hour walk through the heat and the suburbs back. Nothing like walking the silver curve of a highway as the lake glistens below and the trucks whiz past your shoulder...

At dinner tonight, we made another friend. He's the head of marketing for the town of Bergen, Norway--and he regaled us with much discussion of Bergen's amazing gingerbread city, constructed every Christmas for the past 25 years. You think I'm being facetious--but no, it was actually very cool! He had pictures and everything!

This evening, we made an executive decision. Several of the places we want to go over the next couple of days would take forever to get to by public transit. Hello, car rental!

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