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I might piss some people off with this, but I have incredibly strong feelings about modern interpretations of classical literature. Especially queer literature entirely told through subtext due to the era it was created in. (The Portrait of Dorian Grey is a fantastic example of what I’m getting at, but not what I’m going to be talking about in this post.) And I’m going to preface this by saying this is all my opinion and interpretation.
When you look at classic literature with a modern lens, you take away much of the nuance it comes with. It would be the same if you looked at modern lit with a historical lens. There’s a lack of nuance and ability to interpret that comes with looking at art like that.
Taking a classic and boiling it down to its bare bones by looking at it through a modern lens gives you nothing. You have taken away all the context, subtext, and meaning. When you do so, you’re left with a desecrated corpse of what was intended to be area of interpretation.
This is the part where I’m going to go off the rails a bit by talking about The Little Mermaid by Hans Christian Andersen. Which, in my eyes, is in fact a piece of queer lit if you’re open to hearing me out.
The Little Mermaid was written by Hans Christian Andersen and published in the year 1837. Anderson was a very queer man if you know anything about him, and this book is potentially a love letter from him to a man he could not openly love (although that is just speculation).
The book thrives on, in my opinion, very queer themes. Hoping on the absolute most nonsense dream of love and going for it to catch even the slightest glimpse. The curiosity for new things outside of your sheltered life. Finding that your view of identity has changed with the new things you have found. Learning that despite your hoping upon hoping, that even in despair there can be a chance at a new good thing at the end of the tunnel, even if you have to go through hell to reach it. All of these things I find to be queer tropes and themes. (They can be and are used in non-queer media as well, but within the context of Hans Christian Andersens life I find it unlikely that he wasn’t aiming at some subtext.)
The Little Mermaid is a tragedy with some light at the end of the tunnel. She does reach a happy ending, even if it’s bittersweet and heart wrenching. She doesn’t get the guy, and by the end she knows she never truly had a chance. She is curious and bright, willing to risk it all to learn more. She is incredibly compassionate and self sacrificing, willing to do anything to make those she loves happy. She finds identity in this new, intriguing world. And in the end she gets a well deserved chance to get something she wanted, despite all the pain she has gone through.
The story on the surface is about a young woman experiencing first love, and going through an unreasonable amount of suffering for it. On the surface it’s about a young woman who is in a unrequited love with a man who loves another. I find it’s more than that though. It’s a story about finding oneself. About how love can prevail even if it’s not in the way you wanted or expected. It’s about sacrifice and what you get in return, good and bad.
The ending is what really hits home for me. The little mermaid sees the man she loves happy. And even when given the chance to live as a human, she decides that his life and happiness is more important than, what she views as, her own selfish desires. The opportunity her sisters handed to her at the expense of something of theirs, she denies in favor of moving on. And when she dives into the sea with the silver dagger and turns to sea foam on the waves, a door opens up and gives her a chance at a different but equally good life. A life she knows she would enjoy a million times more than a life where she killed someone she loves. She knows that nothing could have changed that the prince would never love her romantically, and decides to live what’s left of her life (in the weird inbetween land) in service of her wish for knowledge and her capacity for generosity.
All of this adds up, to me, to make a subtly queer story. Less about romance than about identity and exploration. While it is narratively about her relationship with the prince and what circles around it, the nuance of the little mermaids character is what makes it a great story. She gives me the vibes of a young queer person exploring themselves and the world around them, experiencing first love and first heartbreak, desperate to learn more and willing to give up everything in pursuit of knowledge. She reminds me, quite fondly, of many people i know, and I love everything about this story.
I am quite willing and open to hearing other interpretations and opinions on The Little Mermaid. This is just my own and I had too many brain worms to contain.
#text post#ferret rambles#the little mermaid#interpretation of classic lit#literature#classic literature#queer lit#subtext is a favorite of mine#have you read your subtext filled classic lit book for the year children#this is kind of a shit post ngl#i was compelled by the brain worms to write this bullshit at 1am
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The thing about the whole "what if people read YA instead of classics in their free time?" discourse that I find a bit frustrating is that cordoning classics off to "things you read for class" makes them less enjoyable.
I promise you that so many classics are more fun when you're reading on your own time and don't have the pressure to answer questions in class or write an essay at the end. You can just read the story as a story and engage with it how you like. You can't get a bad grade during free time reading.
I hope that seeing what happened with Dracula when it was presented as an email newsletter rather than Assigned Reading demonstrates that.
#yes theres a lot going on#with that discourse specifically#but i promise that thinking of classic lit as the thing you are FORCED to read by teachers is part of why you dont like it#i urge people to pick up that same book again at their own pace with no right or wrong answers about how to interpret it
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it's so difficult living in a "nastasya filippovna is a femme fatale" world when you understand that she is actually a byronic heroine
#alternatively a gothic heroine who never Got Out#i kind of despise classical interpretations of her from the perspective of the men she's involved with#who cares about them. how can you read the beginning of her narrative and not Understand#the idiot#📘.txt#lit tag
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I'm so glad Arai sees the vision ✨
#sometimes manga interpretations of classic lit are hit and miss but#takahiro understood the assignment 💯#les mis
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I have my GCSEs in a week and I’m ranting to the group chat about Frankenstein adaptations and how angry I am about Henry Clerval being cut out of everything. In fact, you know what, I’m posting them here because the injustice of Henry Clerval in pop culture can’t be contained to the group chat
#the bit about Elizabeth and Victor’s relationship was a bit vague#I mainly meant that it’s just that their relationship in the novel is pretty open for interpretation and even then it isn’t the FOCUS#even though a lot of adaptations try to portray it as the focus#apparently Hollywood doesn’t care about gothic romance and loving marriage until it means switching up the whole focus of the plot#to make Victor as heterosexual as possible#where was all this when you were making any Dracula adaptation ever?#sorry Jonathan and Mina are actually in a healthy relationship and not cousins so we have to ruin it apparently#classic literature#gothic lit#goth lit#gothic literature#classic lit#frankenstein weekly#frankenstein#henry clerval#victor frankenstein#elizabeth lavenza#clervalstein
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Have you read kafkas metamorphosis? I'm currently reading it "not lit major" and I really want to understand it, live it, breath it but I feel like it's very weird, I also read it in translation so maybe the translation is not so good, how do you as a lit major read books? Really asking cause I really want to read like lit major students.
Hi there. You seem very sweet and genuine. Thank you for reaching out to me.
I have read Kafka’s Metamorphosis, yes. Well, you’re pretty spot on so far—the book is very strange. But in a way, it is meant to be peculiar. I believe that the original language of the book is German. Hence, I have also read a translation.
I would like to say one thing first: even as a literature major, I don’t enjoy every classic I read. There is nothing wrong with not liking or finding a classic confusing or uninteresting. It’s best to have explanations to back up your views, but it’s not harmful overall. If anything, (as R. W. Emerson would say), it’s good to differ from the crowd and establish your own thoughts.
I would love to help you, but first I have two questions:
1. Do you want me to make a post explaining how I read and analyze literature? (It may take me a while to put the post together, but I will do it if you’d like me to.)
2. What are your thoughts on the book so far? I do not want to put ideas into your head—I want to hear your thoughts. I don’t think that most books have only one meaning or interpretation. The fluidity of meaning in literature is beautiful. If two people read the same book and have two vastly different takeaways, then that just means that the message is broad and widely applicable.
So please, if you’d like, tell me what you think the book is about so far. Then, I will offer my interpretation. :) Dms or another anon post is fine with me! Or you can comment too, if you feel comfortable.
#thank you anon#anon ask#thanks anon!#anons welcome#anonymous#anon <3#uni student#literature major#lit student#lit major#interpretation#franz kafka#kafka#metamorphosis#english major#academia#classic academia#literature#uni#lit
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Picture of Jane Eyre and Mr. Rochester. The caption is "me and the ugly short baddie I pulled by being autistic." Either of them could have written it. Do you see my vision.
#sorry i'm so worreid i'm going to get called out for making up autistic jane eyre now. okay she's not VERY autistic it's a difficult#argument to make it's more a headcanon due to small moments far outnumbered by allistic jane eyre moments ok#autistic mr. rochester is like completely made up even more btw. but like. obviously.#jane eyre#classic literature#none of my classmates are going to understand this book like i do when school starts (60% joking)#we're reading wide sargasso sea too so it's all going to be attic wife discourse#classic lit#classical literature#i said this#i keep going back and forth on if there's more evidence of her being autistic or allistic#like am i just seeing what i want to see. because there ARE neurotypical moments from Jane and Mr. Rochester. but i just love#the idea of them getting along so well because they autisticly get each other. full disclosure i am allistic. i think.#but either way Autistic Jane Eyre is a cool headcanon/interpretation i enjoy#jane and mr rochester are an iconic double short couple this is simply facts#jane is literally ai qiong chou#oh i got the order wrong. why did they switch the order of the adjectives compared to gaofushuai. it's 矮丑穷
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continuing in the footsteps of Frankenstein's monster and projecting my problems on paradise lost
#“what does old man poetry have to do with us” hush im getting my feelings validated from the 1600s#ty milton i too am eternally pissed ever since questioning authority landed me away from their good graces#dont appreciate the sexism but. theres always fun subversive interpretations#frankenstein#paradise lost#classic lit
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parris, to abby and betty: okay, listen up.
parris: the first steps to therapy begin with three words.
parris: not. my. problem.
#the crucible#arthur miller#classic lit#classic literature#classic lit memes#mod dio#wednesday incorrect quote :)#late night edition lol#also. feel free to interpret this as you wish.
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they call me the gatebetrayer because i lower every intellectual conversation’s iq by 100 just for fun
#just try saying ''he's like... so babygirl'' when someone starts explaining the motives of a classic lit character#rodion raskolnikov is my blorbo i know him. stop mansplaining him to me#also let people read classics for the drama? and empathize and interpret the characters from their own background?#books are meant to be fun!#classic lit#booktok#a text post
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There’s no rush
my masterlist
pairing: Spencer Reid x gn!reader words: 1150 summary: Spencer wants to take your relationship to the next level, but you had some bad experiences, and they come rushing back into your mind while you're making out. warnings: anxiety/panic attack, reader has had a bad experience with intimacy in a previous relationship. (but of course, Spencer is a sweetheart so - comfort!) a/n: This was a request!
You and Spencer had been dating for a few months now. Both of you naturally gravitated towards taking things slow, never feeling the need to rush. Your relationship blossomed through shared interests, especially chess and classic literature, although you often disagreed on interpretations and he won almost every chess game. It got so bad that he went easy on you once, but you immediately noticed.
Late-night conversations were a tradition, even when he was away. You couldn't go to sleep without talking to him first.
And to top it all off, there were those passionate make-out sessions that never went further. It was an unspoken agreement, a comfortable rhythm that you both appreciated. Every now and then, you found yourself on Spencer’s worn-out couch, usually with him on top of you, gently kissing and hugging. Sometimes, the make-out sessions would turn into playful tickling, transforming the make out session into a laughing session that ended with tough ribs and tummy aches.
Tonight was no different, or so you thought. You were on Spencer’s couch, his hands in your hair as your lips moved together in a familiar dance. His weight was gently pressing on you, which felt heavenly. Your hands roamed over his sides and back.
The room was dimly lit, the soft glow of a lamp casting a warm hue over both of you. Everything felt perfect, like it always did when you were with him.
Spencer’s kisses trailed down to your neck, and you felt a shiver run down your spine. His touch was gentle, his lips warm and inviting. You let out a soft sigh, melting into the moment, into him, and into the couch. You wished you could stay like this forever, trapped between them.
Then, his voice broke the comfortable silence, “I’ve been thinking…”
Your heart skipped a beat. Spencer’s voice was calm, but there was a hint of something else- anticipation, maybe? His words seemed to hang in the air, mingling with the soft sounds of your breaths and the distant hum of the city outside.
“We’ve been dating for a while now,” he continued, his lips brushing against your skin. His breath was warm, sending another shiver down your spine. “I’ve been thinking…how about we take things further?”
His words were soft, almost tentative, yet filled with a kind of yearning. You could feel the weight of his question, the way his hands paused their gentle movements on your back. Spencer's eyes, usually so full of curiosity and warmth, now held a deeper intensity, reflecting the flickering lamp light.
His eyes full of yearning and want and hope.
He pulled back slightly, just enough to look into your eyes. “I want to be closer to you,” he murmured, his thumb tracing a delicate path along your jawline.
His words took a moment to fully sink in, but once they did, panic gripped you instantly. Your chest tightened, and your mind started to race. He felt so good against you, his weight a comforting presence, and he was so sweet, so understanding. You loved the way he made you feel but...
Memories from a past relationship surfaced, memories you had tried so hard to bury. The fear, the hurt - it all came rushing back, overwhelming you. You remembered the pain, the nights spent crying, the way you had felt so vulnerable and exposed. The intimacy that once brought joy had turned into a source of ache and anxiety.
The room seemed to close in around you, and you felt the sting of tears at the corners of your eyes.
You wanted to be with Spencer in every way, but could you? Want and could were two different things. You desired nothing more than to let yourself go, to be vulnerable and open with him, but the fear held you back, a chain from your past that refused to break.
The longing in your heart clashed with the anxiety in your mind, creating a storm of emotions that left you feeling trapped and unsure.
You pulled away, your breathing shallow and rapid. Spencer’s eyes widened in concern as he immediately sensed the change in you. “Hey, are you okay?” His voice was filled with worry, his hands gently cupping your face.
You couldn’t find your voice.
You had to tell him, you couldn’t keep this from him, but the words wouldn’t come out.
Spencer didn’t press you. He pulled you into a comforting embrace, his hand running soothingly through your hair. “It’s okay,” he whispered softly, “You don’t have to say anything. Just breathe.”
You focused on his voice, on the steady rhythm of his heartbeat against your ear. The sound was calming, a steady anchor. Slowly, you felt your panic begin to subside. The tightness in your chest eased, replaced by the warmth and security of having him near you. His scent, a comforting mix of old books and something uniquely Spencer, surrounded you, grounding you in the present moment, on his couch, in his arms. You were okay.
“I’m sorry,” you finally managed to whisper, your voice trembling with the weight of your emotions.
Spencer’s grip on you tightened ever so slightly, a silent reassurance. “There’s nothing to be sorry about,” he said gently, pulling back just enough to look into your eyes. “It’s okay. We're okay. We’ll go at your pace. There’s no rush. We don’t have to do anything”
“But you said…” you started, your voice trailing off.
“It’s still true. I want to be with you. I want to be close to you.” Spencer interrupted gently. “But I don’t want to do anything you’re not comfortable with. Your feelings and comfort are what matter most to me.”
You looked into his eyes, seeing nothing but understanding and compassion. It gave you the courage to speak. “It’s just…my last relationship. It…it, I don’t know. I mean, I know… it’s just…” Your voice faltered, and the words became tangled in your throat. Tears began to overwhelm you, cutting off your ability to continue.
Spencer’s expression softened further, but a flicker of anger flashed in his eyes—not at you, but at the person who had caused you pain and made you feel scared and anxious. “I’m so sorry,” he said quietly, his voice carrying a deep sense of empathy. “I’m really sorry that you had to go through that.I’m sorry that some loser hurt you. You don’t have to share anything more if you’re not ready, but I want you to know I’m here for you. Always. I understand.”
He paused, his voice steady and reassuring. “And I’m here for you, no matter what. We’ll go at your pace. There’s no rush.”
You leaned into him, feeling safe in his arms. You were okay. You and Spencer were okay, and the love between you was a comfort you have never felt before. You knew he loved you, and you loved him in return.
And that was all you needed.
#spencer reid#spencer reid fanfiction#spencer reid x you#spencer reid x reader#spencer reid x y/n#spencer reid one shot#spencer reid x gn reader#gn reader#criminal minds fluff#fluff#spencer reid comfort#spencer reid x gn!reader#gn!reader
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You hate classic lit because:
Your were forced to read it in high school, and no one likes to be forced to do anything in school
Your teacher failed to explain that important things aren't always objectively enjoyable
Your class was focused on picking the book apart at the expense of appreciating the story or, more importantly, the context of the book and why you should care
You think that the book has to be relevant and nonthreatening to you to be worth reading
I had an English teacher in high school tell me word for word that Charles Dickens was the filet mignon of literature, and that my class clearly only liked hot dogs. I had another teacher ask me what I thought the meaning of a poem was and then told me that my interpretation was objectively wrong.
But I've also seen other teachers explaining what made a book a classic, why people at the time loved it, what new ideas or writing styles it pioneered, or what historical events it inspired. And I've read, throughout my life, plenty of classics without the constraints of an educational setting, and thoroughly enjoyed them. Hell, I've taken Les Miserables to the beach.
There have also been books that I have read and not enjoyed! Sometimes they had themes that I hated, but as a historian I can put those themes in context and still learn from the work as a whole. Sometimes I just didn't like the story, but I can accept that my ideal plotline doesn't always mesh with that of an average person in 1788. I also know when books feel disjointed because they were originally serialized, or paid by the word, or written in a dialect and culture not my own. And now I'm an adult, and I can choose to finish them or put them down.
The point is I encourage you to revisit books you once had to read and hated, or books you never had to read but have avoided because they fall in the same category. As an adult you get to make your own choices and form your own opinions, and that freedom allows you to dive as deeply or shallowly into literature as you want. You may never like War and Peace, but you might also find that you enjoy more than you thought you would.
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Hey im @holmsister tumblr is tumbling as usual.
About the Maizuru complaint and bad faith interpretation: I feel the same way about POC in this fandom. I didn't really engage in fandoms that have many canon POC because most of my reading in the last years has been historical and classical European lit and nonfiction so like. The racism is baked into the source so to speak. AND im super white so im not going to try and speak out of turn. But moving into a fandom for a recent work of art in which there are important characters of colour has been... enlightening (derogatory). Also not naming names, but the way white characters are extended grace for things the POC are criticised extensively is... enlightening (derogatory). Maizuru, being at the intersection of being a woman and POC, is obviously going to get the brunt of it. Especially because yeah, she's not exactly a pleasant character - yeah, the way she treats the other retainers is not nice. But she is basically a sex slave. Like we can mince our words as much as we like, add in everything about how she is clearly being well-treated and not resentful, etc etc, but she's there to entertain Nakamoto and she can't say no if he comes to her room. All of her privileges are dependent on her pleasing him. That doesn't mean that she can't be abusive in her own right - but like. How old was she when she was taken in by Nakamoto? She's been around since Toshiro was little, remember? Hell, her obsession with being a good retainer with Toshiro might be a way to safely "escape" Nakamoto - after all, if she's following Toshiro around, she's not in her parlour waiting for his father's next visit, and if Toshiro, who has no interest in her, became the next head of the household, she would be allowed to live out her last years in peace. Like this is speculation of course, but it's based on what we know of the character in much the same way any other speculation is - I'm choosing to give her the benefit of the doubt the same way I do for example Laios choosing to join the army.
Sorry for the vent, it's just. The complexity of the characters is a good thing! Stop trying to find a bad guy, you're missing the point! (And showing your ass in the process). everyone has complex motivations!
Truly, people hate nuance and it seems like internalized misogyny and racism amplifies that.
I feel like at least for the racism one there's more awareness and people speak more about it? But I usually see misogyny arguments being dismissed a lot more so I got specially angy at it.
I guess I wanted to find a reason outside misogyny to justify how people treated these character's cause I've seen lots of people being mad about that before about other characters and even thinking myself "It's surely not that bad/widespread, this character is the one that sucks" but when you have a more general view of reactions it becomes painfully obvious.
Thankfully I didn't see the racism against Toshiro (maybe cause I barely post about him) but I can only imagine.
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hey, wtf is physiognomy and why does it keep being brought up in dracula for seemingly no reason? it sounds like one of those racist pseudosciences but i've literally never heard of it anywhere else. why was it a thing some characters engaged with?
Your instinct to call it a racist pseudoscience is spot on.
Essentially, physiognomy is the 'science' of figuring out a person's true personality/nature based on their appearance. Ideas like this been around in various forms for a long time. A super simple example that springs to mind is the way that, in fairytales, people often can tell someone is royalty because of how good-looking they are. But of course it goes the other way too, and assigns criminals and villains "ugly" features. Eventually, people inspired by Darwinism latched on this idea and proposed that certain people were, essentially, less fully evolved than others and thus were destined to be savages/criminals. This might be meant in a larger sense against a whole race of people, but also often used individually on specific persons.
Both physiognomy and phrenology (a similar concept but based on interpreting the bumps and shape of someone's skull) were quite popular in the late 1800s. For example, I distinctly remember one Sherlock Holmes story where he speaks to someone who is a phrenologist (or at least, a hobbyist at it) and really wants to measure his head. He believes that someone with such an incredible mind would show it in the shape of his head. Though you may not have seen the word elsewhere, if you read classic lit (at the least, classic Western lit), you've probably unknowingly run across it in a few character descriptions. Specific descriptions of characters would make a point to mention features which contemporary readers could pick up on as signs to their character. For example, Jonathan tells Van Helsing, "you don't know what it is to doubt everything, even yourself. No, you don't; you couldn't with eyebrows like yours." The Professor recognizes his meaning and puts a name to it ("So! You are physiognomist."), but while we modern readers might not see the link without this line, many people probably would when it was published. Both Jonathan and Mina make detailed descriptions of Dracula and Van Helsing, respectively. (Actually, Mina also describes Dracula.) These descriptions can be seen at least partially as a code to readers in the know about what type of people they are and how they will likely act. I personally don't know many specifics about what traits were supposed to correspond to what features, but I believe that eyebrows, foreheads, and noses (both size and shape) were pretty commonly emphasized, and those are all mentioned for both men. I know there was a post that talked more specifically about what these were likely intended to 'mean', but I haven't been able to find it for you, sorry. (I do have descriptions of all main characters collected here, but the post includes spoilers.)
So that's what physiognomy is. As for why the characters are engaging in it... well, it's another way to show them being cutting-edge and scientifically minded. In fact, Mina later namedrops Cesare Lombroso, who was an important figure in the 'science' of physiognomy. He is sometimes called the father of criminology and had influential theories (and even, I believe, guides) as to what features said what about criminals. He also had theories about the different way criminal brains work. So by showing certain characters having an interest in physiognomy, the association is built between them being on top of new science and psychology, being interested in criminology and perhaps even having a detective's mind. Themes of modernity are quite prevalent in this book, and this would probably fit in that category because of the more recent emphasis on it as a science.
#dracula daily#historical context#at least a little briefly#anonymous#replies#physiognomy#it's a shame that it sucks because i really like the word :(#it's so fun to say.
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Cinematic ART
Okay actually, I need to talk about this scene some more:
In his post-credit scene, Raphael is framed very very classically with a light vs darkness / good vs evil theme, by having one half of his face lit and the other in shadow.
I can't help but think back to my art class in school, where we discussed the topic on the example of FAUST, where no other than the devil, MEPHISTO, is framed the same way:
The lighting also changes throughout the scene, subtly emphasising what Raphael is talking about in each shot.
As he thanks you and marvels over the crown, the background is brightly lit:
Yet, his face is already half in shadow.
When he changes frame (like a TV presenter, why??? This is such an unusual almost-4th-wall-break. Someone else has to interpret this one for me), the background is dark. This is where he talks about conquering the Hells, ending the blood war, and looking for new worlds to conquer.
This is where the light-dark contrast on his face is highest, too. Think about: Uniting the hells and ending the blood war (by eradicating the chaotic evil demons, aka bringing order) is technically a good thing. Ending war, right? But the blood war is essentially what keeps evil (both, lawful and chaotic) from expanding into other worlds, because it's kept busy in Avernus. The act can be seen as good and bad, but ultimately the consequences will be horrible for the other planes, so he is steeped in darkness, but there's still light in it.
Now he turns again. The background is bright, his face fully lit, as he tells you that he'll come knocking at your door.
The theme is flipped now. The shot suggests 'good', while his words sound like a threat. It's unsettling, and adds to the ominous tone.
It makes it harder to be certain how his words are meant to be taken. Is he threatening us, that he'll come and destroy us? But he did "swear not to use the crown's power to dominate a mortal" (don't get me started on how many loopholes this one phrase has).
After all, we helped him, and are his most cherished client. Maybe it's not a threat at all, and he just intends to contract our services again.
Who is to say? The lighting certainly suggests that he's no threat to us, even if his words do.
I love this ending cutscene way too much.
#bg3#raphael#cinematic art#faust#am I over-interpreting this?#mayhaps but I don't care#I certainly don't put it past Larian to have put this much thought into the ending that has you make a FAUSTIAN deal with a DEVIL#raphael the cambion#raphael baldur's gate 3#baldur's gate 3 raphael#raphael bg3#bg3 raphael#rds#baldur's gate 3#baldurs gate 3
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i love star trek bc it's actually a high school theater production most of the time. We focus a lot on the over-acting, theatricality of the actors and the directors, and that's all well and amazing, but /I/ want to focus on the /TECH/ bc ASHAijnjsdnbhgaARREghghhuuagjkshdmhbAHJBSSHJHIEJBnkjsdjhbsdhjBmahbsjshsbHkjnswkjshsn yea.
FIRST THE SETS?!? they're so silly and stupid? i know they get a lot of shit but the amount of work (not to mention styrofoam) that went into building individual sets for each planet they went to? like sure about 50% of the away missions take place in the california desert (the arena, *cough cough*, etc) but the rest of them have individually made sets that look PRETTY GOOD MAN. they get the point across, they're FUN, and innovative, and they really don't reuse planet sets all that often as well.
PLUS they used traditionally /theatrical/ cycloramas with painted backgrounds and classical cyc lighting (reminiscent of mariano fortuny's domed cyc! i WILL talk more about lighting) which look really cool and once again get shit for being unrealistic.
it's not supposed to look realistic it's supposed to look cool as shit. and it does. shut up. <3
if you view the sets as being modern TV sets then yeah, they're weird, and they look sorta bad, but THEYRE NOT modern TV sets: they're THEATRICAL SETS FROM THE 60-70S. AND I LOVE THEM.
SECONDLY, THE
lighting
while it's true that some shows in the 60s were developing new lighting styles specifically for TV, remember that in the year 1950 less that 10 percent of US homes had a television. this shit was new. COLOR tv was ESPECIALLY new. nobody knew how to light these things! and actually why would you need a new lighting style, we already KNEW how to light dramatic productions, why would we ever need to reinvent the wheel Stanley Mccandles, Mariano Fortuny, and Gene Rosenthall already invented says Gene Roddenberry and Jerry Finnerman (the head lighting designer). and oh my god i am so ridiculously glad. because the lighting. is so good.
i HAVE seen others talking about how good it is in the super early episodes (Charlie X and the conscious of the King, etc.) and i do agree! but i disagree that the quality goes down. i think it just got a tad bit more subtle as the show went on and it gets less in your face, harder to notice. but i noticed. because I'M the WORST (and also a lighting tech)
the impossibility of listing every example of amazing theater lighting choice they made is absolutely horrific and nasty so i'll just lost some my my favorites:
the cyc! i mentioned before but the cyc they used on away missions was only painted when they needed a specific scene in the background, otherwise? that bitch was LIT. and i LOVE IT.
any of the scenes where they light spock's face have green and half pink? or even just washing the walls behind him? i eat that shit UP. the METAPHOR. the CONFLICT. i will acquiesce that green and pink are (and were) pretty goddamn industry standard gels (color-films) to add to lights, for subtle contrast, but this is not subtle. it is LOUD. was it purposefully done from a storytelling perspective? no idea. is it cool as shit and interpret-able as hell? absolutely. also sometimes they do it with just green when they want to emphasize his vulcan-ness and other him a bit. like they do it a lot when he's in his room in amok time. anyway.
whenever they shutter a light so they can emphasize a character's (kirk, we're talking abt kirk here. and *sometimes* spock, and also Charlie in Charlie X but yeah mostly kirk) eyes when they say something #Deep, or just pre-commercial break closure worthy line. it's so SHJSDJBFEJNKN. to add onto this, they'll do a striking half-wash over half of their face sometimes in conjunction and it looks So Good
The GOBOS. sometimes, they'll just throw light through a gobo, or wall screen, or something, for /visual interest/ and it looks so silly i love it sm. does it make sense from a realism pov? nO. but star trek is a theater production actually and they lit everything using mainly naturalistic techniques! amazing!
honorable mentions: the glowing time donut, and the entirely random colors in the hallway.
there are so many other examples but this post is long enough lmao. notice the lights next time you watch tos!!,! please!!! <3
#star trek tos#james t kirk#tos spock#enterprise#star trek#set design#lighting#lighting design#theater tech#techies#leonard mccoy#iatse would love this i think#theater lighting
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