#it's beautiful and tragic and great storytelling | Explore Tumblr Posts and Blogs

betweengenesisfrogs · 11 months

Text

A HOMESTUCK MANIFESTO

I want to think about what comes next after Homestuck.

That’s a challenge to the world as much as a personal mission statement.

I want to see writers and artists and creators making the next Homestuck, taking its themes and binding them into new fabrics, giving life to new creatures even more beautiful and uncanny than the original species.

I hunger to see new forms of story and image evolving with Homestuck in their DNA.

This process is already underway. Homestuck is a massive boulder dropped into the waters of culture, and the full wake of its ripples is still to be felt. But let’s call attention to this process and ask: what would happen if we engaged in it more consciously? If we sifted through our feelings about Homestuck to create something new, deliberately, with great and wonderful purpose?

The tools we need are within our grasp. Homestuck presents itself as magic, but it’s a work constructed in time out of specific storytelling choices. So let’s understand those choices. Let’s understand how Homestuck did what it did, and use Homestuck’s tools to build art that grips the soul of future generations as strongly as Homestuck did ours.

What follows is not a traditional literary analysis. It does not cite its sources; it does not seek to give us a comprehensive understanding of Homestuck. If it does, it does so only to the extent it suits its larger purpose.

Our goal here, our quest, if you will, is not to understand the Homestuck that exists, but the Homestuck that comes next.

Let's begin.

0. THE WILD GARDEN

Let’s lay the absolute groundwork here.

Homestuck is constructed as a re-appropriation of itself. Or to put it another way, it’s a big improvisational move, a process of “yes and”-ing so hard it develops a sprawling continuity.

Tiny details are constantly re-contextualized to become part of something else. A joke might turn tragic. A silly aside might turn into something profound.

But it didn’t have to be that way.

It’s crucial to understand that what we experience as continuities were in fact choices made at specific times. Homestuck is a garden where seeds were scattered in every direction, grown en masse, then weeded down to create patterns and forms.

The shape of the garden is designed to conceal the gardener’s hand. But the gardener’s choices are there, every step of the way.

If we are to follow in its footsteps, what choices should we make?

Let’s talk about themes.

1. THE MEANING CRISIS

Nobody in Homestuck knows what they’re doing.

And neither do we.

All the old idols have broken down. The values we were taught in our childhood fail to measure up to the problems of the world we live in. We grasp after careers and lives we were told would make us happy and wonder why we’re left empty. The selves that we were told were us now fit us about as well as clothing we’ve outgrown. Crises loom, political, economic and environmental, and everywhere it feels like the people who are supposed to guide and lead us aren’t doing enough.

It's widening gyres and slouching beasts all the way from here to Bethlehem, is what I’m saying.

The reason people go absolutely insane for Homestuck is that it depicts this crisis of meaning. It shows the questions we might want to ask, and attempts to provide some kind of answer.

The protagonists of Homestuck struggle with what I’ve called “received narrative.” That is, they’ve inherited stories from their families, from the world, that they try to use to define their lives, and it doesn’t work. But these stories are so familiar that it’s hard to think outside them. They have to develop new stories by which to live. Sometimes they succeed, but other times they can’t escape the gravity of the ones they were given.

With me so far?

Great. Now understand that all this was improvised and discovered largely accidentally over the course of ten years.

Here’s a seed that became quite an impressive tree:

The streets are empty. Wind skims the voids keeping neighbors apart, as if grazing the hollow of a cut reed, or say, a plundered mailbox. A familiar note is produced. It's the one Desolation plays to keep its instrument in tune.

It’s a joke. But it was never just a joke. There’s an idea here of dissatisfaction with the stereotypical idea of American suburban life. Egbert here is looking for something more, dissatisfied for reasons they can’t fully articulate. This is typical fantasy protagonist stuff, but there’s something more here, too.

Eventually it’s redirected towards the idea that there really is an unseen riddler. But let’s put that aside for now.

This page, in its moment, says: your life is not the full picture. There’s something else out there, waiting, that’s going to change everything.

That's a potential set-up for a very powerful payoff. It gives us the sense that Egbert and all their friends are going to have to rethink what they know. That this suburban life is not going to be enough for them, that somehow or other they’re going to encounter something they aren’t prepared for, and they’ll have to find a new way of acting and being. That, try as they might to avoid it, they’re going to change over the course of this journey.

But to understand how they change, we need to talk about SBURB.

2. THE PORTAL FANTASY OF IT ALL

A lot of people like to joke that Homestuck is an isekai. I think it might clarify things to use the term portal fantasy instead.

Portal fantasy is simply the fantasy subgenre of characters, usually kids, going to a magical other world. Maybe they make friends, maybe they learn lessons and stuff. You know the drill. I don’t have to to tell you more because the story structure is already so familiar. That’s what gives it power.

Portal fantasy differs from the related Japanese genre of isekai in that isekai in its current form is much more heavily based on video games such as MMORPGs. In the most pervasive isekai narratives, protagonists are rewarded not so much for achieving personal growth as being able to exploit the game mechanics of a game-like system. That’s pretty different from your typical Narnia scenario.

The influence of portal fantasy is everywhere in Homestuck, especially in the beginning. We have nods to the fantasy films of the 1980s that gave us our contemporary idea of this story structure, such as The Neverending Story (itself, in its original book incarnation, a phenomenal commentary on the genre). Our protagonists are genre savvy; they recognize what’s happening here.

But it doesn’t fit quite right. The odd note is first sounded when Egbert asks Nanasprite if what they’re doing is going to save the world. They’re bit unsettled to learn the answer’s no, that something else is going on here. Next we have the fantasy worlds: the planetary lands each present a veneer of exciting adventure. But their inhabitants, the consorts, aren’t fully-realized people, they’re largely cute animals going through the motions, not really understanding the story they’re telling. The carapacians are a little better, but they’re still trapped in a fatalism that feels uncomfortable.

As things rev up in Act 4, we learn about doomed timelines from alt-timeline Dave and Rose, how your entire existence in this setting may be fodder for something other than you. When we learn the true purpose of SBURB and its froggy details in Act 5, we see that SBURB is more like a biological creature, mainly interested in its own reproductive desires. It was never really about the portal fantasy at all. The kids are just along for the ride.

So when we see that Rose wants to tear through SBURB, find out a way to escape fate, and snatch meaning from the jaws of futility, it makes sense. We’ve been given hints already that this is the conflict at hand: the characters vs the story that’s telling them.

(Note: it’s certainly possible to have a reading that SBURB is not evil so much as empty, that it reflects what you bring into it, that its will for you is your will for you. But that’s also a difficult thing, right? If you lack self-understanding, it’s a struggle to bring about your ideal reality.)

What we haven’t mentioned yet is that this is all mediated through the lens of video games. Which makes perfect sense. Because where do we seek meaning, especially as kids? In imaginary worlds that make more sense to us than real life, that give us achievements to take pride in and clear objectives to pursue.

SBURB evokes mechanics from games like Final Fantasy. We see its players complete objectives, cast magic spells, gain power-ups with colorful costume changes. But unlike the narratives implied by traditional video game progressions, leveling up doesn’t mean you grow as a person or process your trauma. Later, in Act 6, when we meet a player who has made his life about winning the game (Caliborn), it’s horrific to behold.

Homestuck is a portal fantasy, but it’s fundamentally a portal fantasy about games. It’s a portal fantasy that shows us how characters seek meaning in being the best at arbitrary game mechanics, but ultimately fail to find it.

So I guess…it actually is an isekai? Huh. Wild.

(But seriously, Homestuck is actually fairly prescient in predicting the ideas that come out of isekai and LitRPG. It’s engaging consciously and deconstructively with the weird ideas of self-fulfillment these genres are drowning in.)

So what might a Homestuckian work look like? It will almost certainly critique a false narrative we live by. It may comment on portal fantasy, or our personal satisfaction that comes as easily as playing a video game. But it doesn’t have to be limited to these things. It might talk about our popular TV shows and movies. It may take apart what’s flawed in Marvel, the latest triple-A game, or the modern dark fantasy novel.

Among its tools will be discomfort. Showing a disconnect early on between our character’s expectations and their happiness can serve as foundation to build on, so that when the flaws of the genre narrative are revealed, it feels like the truth. We may see characters who accept their narratives passively, or rebels like Rose Lalonde, who chose to rip everything apart in search of something better.

These are only some of the possibilities.

When I tell you the stories we live by mislead us, what is your relationship to that? If you were to tear these received narratives apart, what would you focus on, what would you try to say? The art that comes out of this question will be deeply personal to the soul who makes it.

But here’s another question:

Just who is giving us all these narratives, anyway?

3. THE PARENT FLIP

The world we live in was not made by us. It was shaped by forces that predate us, over which we have no control and are born into the grasp of without the knowledge of how to escape.

For instance, our parents.

The guardians who raise us provide our template for how to interpret life. We spend a large part of our lives immersed in the world they built, believing as they believe, living by the values that they instruct us in, so that we might carry their goals forward to the future.

This is an effort that is certain to fail.

Because the problems of today aren’t the problems of twenty or thirty years ago. At best, their messages can only to help in a limited way with the crises we go through as we live our lives. At worst, they actively hinder us from dealing with them productively.

If we are to escape the broken patterns of our world, then we need break out of the stories an earlier generation gave us.

How are parents discussed in Homestuck?

Initially? As jokes.

If we take our “future knowledge” goggles off for a moment, we can see that the early depictions of the kids’ parents are a goofy parody of standard parental tropes. Mom and Dad are nameless, faceless, exaggerated cartoon stereotypes, and conflict between them and their children is initially expressed through a silly video game fight.

There’s a seed of something real here, though. What we’re parodying is a familiar trope of tension between parents and children in kids’ fiction and YA fiction. But that trope exists for a reason. This conflict is rich with potential for any story about growing up. And Homestuck has smuggled the idea of it in as a silly RPG parody.

So we can extrapolate, for instance, that there’s tension between Egbert and their father in part because Egbert doesn’t know yet who they want to be, and that Rose and Mom’s relationship is awkward and contentious, with alcohol involved. We see that there’s something profoundly uncomfortable going on between Dave and his Bro, and Jade’s life in the shadow of a dead Grandpa suggests a psychology that’s not entirely a healthy one.

Understand that I’m not saying that all this was there from the start. Rather, a choice was made to develop these interesting possibilities out of the jokes, to tell a story about how parents that act like these ones might have affected their children.

A major turning point in this regard is when Egbert learns their father’s seeming clown obsession was the result of a failed attempt to connect with them. It’s quite silly, but it plays around with the idea of a gap in perception between parent and child. It’s also a sign the story’s starting to take more of an interest in character psychology, suggesting that what Egbert processes consciously is not the same as their deeper unconscious feelings. This in turn can become a setup for a portrait of Egbert as someone who represses things they don’t want to think about. From this moment, in the long term, comes June Egbert.

When the psychology machine revs up for all the characters in Act 4 and Act 5, it’s able to do so because this foundation was laid.

We also, as early as Act 3, get hints that the parents have intentions and personalities outside of how the kids perceive them. The original purpose is to hint at a larger conspiracy around SBURB, with Mom building a secret lab, Dad trying to investigate the mystery, and Grandpa jumping in and out of time. But what this suggests is that the psychology of the parents might at some point come into play.

But the most exciting development in the relationship between parents and children is Act 6.

The great role reversal. The parent and child flip.

How do you make your faceless parent figures into characters?

By making them kids.

We’re so used to this concept now t that it’s hard to remember how wild it is that Roxy is a teen version of a main character's mom. But the concept is genius. Meeting these characters on the same level forces our protagonists to understand them as people and reflect on their fallibility.

For us as readers, it adds detail and nuance to the cartoonish portraits we got in the beginning. Conversely, we also see what our protagonists might have been like as parents themselves—and turns it from a story of “parents just don’t understand” to a story of how people, despite their best intentions, can wound each other.

(The Homestuck Epilogues are a difficult text to evaluate, but one of the best things within them is Egbert’s arc in Candy, where we see how Egbert might have done as a parent, how their struggles with finding purpose in the world might lead them to embrace a narrative of parenthood yet struggle to have a good relationship their kid. It’s brilliant, and the culmination of everything we’ve talked about here.)

Thus the Homestuckian work of art will be concerned with themes of parents and children. It will play with the boundary between what children understand about their parents and what they don’t. It will show parents as people—fallible people, who make mistakes with severe costs, whose stories fail their children and themselves. It may build from a simple base of what children understand, or it may weave parent and child perspectives together. It may even show us how children fail when they become parents themselves. It will show us the cycles we are trapped in, how we wound and are wounded by our context.

And it will force us to look for a way out.

4. CLASSPECTS AS SIGNPOSTS

Hey. You want to know a secret?

Come closer, and I’ll whisper it to you.

Classpects aren’t actually all that complicated. Ultimately, they boil down to one thing:

Symbols we can use to construct a self.

If Homestuck is about a crisis of meaning, then classpects are part of its answer.

What do we do, when the world gives us no story we can live by?

We make one. We make one out of whatever symbols and messages we can find and put together from the stories we’ve read, from the people who teach and inspire us. Such collages are powerful things. They give us a way out of the dark, they give us a sense of something we are and can be, where there was nothing before.

They give us, in short, a personal mythology.

Classes and Aspects have often been read as codes to be unpacked and solved. It might be more productive to see them as creative tools, signposts designed not to narrow down meaning, but to allow us to explore it.

For instance, the portrayal of Light in Homestuck is unique. As a symbol, it combines notions of brightness, knowledge, future, luck, wealth, and narrative focus. These things aren’t inherently linked out in the world, but they are here, and that’s a choice, and an interesting one. It encourages us to imagine connections between these concepts, and to see if they have any relevance to ourselves. Identifying with the concept of Light, in other words choosing to value clarity, luck, and importance, might be a powerful tool for finding one’s way in the world.

Classes play with signposts at an even more basic level. Sure, we can talk about what a Knight does in the context of the story.

But a knight is already a powerful symbol. We bring so much cultural context to it. The word conjures up images and narratives of devotion, duty, violence, the slaying of dragons, armoring oneself against the world, and the rescuing of princesses. If we put that together with a concept like Time, we get a distinct character. If we put that together with our own experience of the world, we can create powerful concepts for who we want to be.

Interestingly, this complicates what we said about SBURB. As much as our protagonists struggle to find meaning within it, there’s still something there that they can latch onto. Classes, aspects, denizens, even consorts and lands—these things don’t have to be devoid of meaning. We can choose to affirm them; we can build something out of them, and say, yes, this is me, this is myself.

But it’s a double-edged sword.

We are responsible for the narratives we choose to live by. And we may find ourselves falling into a narrative that hinders us more than helps us, that creates a self-destructive self.

What does it mean to believe deeply that you are a thief, that taking from others to benefit yourself is the best way or comes to you the most naturally? What does it mean to tell yourself over and over that you’re a prince, with all the attendant baggage of power and grim responsibility that comes with that concept? Or, to follow the path further, what does it mean to tell yourself over and over that you are a destroyer or must be destroyed?

If we are to escape the story we’re trapped in, we must take care, lest we trap ourselves in a story of our own making.

Homestuck never quite resolves the ambiguity around these symbols of self, around whether SBURB hurts or helps, whether classpects are things you create or things that create you. But this ambiguity is a productive one. It gives us symbolic tools we can use in the creation of meaning, and it shows us the side of them that should make us wary.

The work that is to come after Homestuck will be about symbols. It may show us how we seek them in popular culture, or the people around us. It may use some of the clusters of meaning that that we see in Homestuck, but it will not be limited to them. It will write its own language of symbols, joining Light and Time to notions like Memory, Need, Rupture, and War, and be filled not just with knights and princes but brigadiers, lancers, healers, druids, taxidermists, sentries and waifs. It will build with tarot cards, enneagram types, and Babylonian gods. It will place all the signposts we’ve created in millennia of existence into new contexts and meanings.

By such means will it show us a way forward.

There’s one kind of symbol we haven’t talked about yet, however.

The kind that holds a mirror up to the world.

5. THE POWER OF ALTERNIA

There’s a reason dystopias have been so popular in young adult fiction. Sure, they’re cliché now, but they speak to something raw and visceral.

When you’re growing up into a world that doesn’t make sense, it’s natural to find refuge in emotional extremes. Stories of blood and violence, fates worse than death, and governments that demand horrific things of their citizens speak to the anxieties of the adolescent mind. They validate the feeling that something is wrong—that the world we’ve inherited is broken and unfair and has no place for us. And they’re right.

Alternia taps into these dystopian feelings perfectly. What makes it so fun is that it’s an inversion of a teenage fantasy. It’s a world where there are no parents, where kids can have access to power and violence, where you can sit around and play video games and design your own house. It almost feels like a response to the “parents don’t understand” themes of the early acts.

But the dystopia’s there, and it’s sneaky. A land of lost boys and girls isn’t actually all that great to live in. It’s lawless, survival of the fittest, with children killing each other left and right. And the future adult roles most of the troll kids aspire to are a glamorous veneer over competition for slots in a fascist military hierarchy. Which is to say nothing of the blood caste system as a way in which the kids are taught by their world to abuse and exploit each other. Crushes, personal slights, competition for status, group dynamics, attempts to define identity – all these familiar teenage dynamics play out on a backdrop of maiming and murder.

Which is perfect. Because when you’re young, all those social interactions genuinely do feel like life or death, and adulthood a regime of exploitation and horror bearing down on you. Alternia is a heightened, exaggerated version of reality. It expresses an emotional truth, not a literal one, validating our most intense feelings and giving us a road map to understanding them.

No wonder so many people wanted to skip to Act 5 and get to the trolls.

(See also Hiveswap Friendsim and Pesterquest, which explore these themes really really well.)

And Alternia, for a world where parents aren’t really a thing, tells us a surprising amount about the parental generation. In mid Act 5-2, Ancestors are added to Alternia’s wordbuilding, and we learn that as much as the trolls skipped having traditional parental figures, they were never devoid of role models. The deeds and exploits of notable figures throughout ancient Alternia gave them models to think about each other and themselves—even when those models were toxic ones. In a way, this isn’t so far from the human kids at all.

Furthermore, as time goes on, we acquire an origin for Alternia’s fascist worldview. Doc Scratch, manipulator of society, stands in for all those aspects of the world that work to create the false narratives we are born into, a true evil father figure – or uncle, if you prefer. And he's an extension of the ultimate evil father figure, Lord English, who controls not just Alternia but the timelines of the human children as well, whose belligerence and apathy give us aeons of toxic narratives and abuse. We see that story played out in Alternia in every interaction, in every moment, the beliefs its architects live by.

This is the power of dystopia—it can hold a broken mirror up to the world we live in.

Therefore the Homestuck that will come after Homestuck will worldbuild gardens of horror. It will not pull its punches but show us insidious societal systems and the effect they have on the people who live under them. It may depict fascism, authoritarianism, feudalistic tyranny, or all three. It will be unafraid to evoke blood and guts but use them to paint a picture of what we want, what we fear, and how we break under our false horizons.

As it depicts the path out, so, too, will it have its reverse side—it will show us all the hells and purgatories we’re trapped in.

6. SAILS TO THE WIND

Much has been written (including by this very author) about Homestuck’s metafictional aspects – the way it comes to foreground a more direct clash between character and narrative.

But the point I want to make here is that the metafictional angle wouldn’t work without these earlier choices. They allow the comic to talk about these concerns long before any notion of canon rears its head.

There are many ways of approaching these themes, and we don’t have to be limited to notions of Ultimate Selves and Beyond Canon to explore them. Such things are valuable, but they are only one retelling of the myth. If we are to make the next Homestuck, we must make our own.

I want to illustrate the space of possibility by offering some examples of works that explore similar themes. Note that I’m not saying these works were influenced by Homestuck in any way, but rather that they use some of the same tools to speak to the same questions, anxieties and concerns.

In trying to make what comes after Homestuck, we might consider:

Revolutionary Girl Utena, which foregrounds the archetype of the Prince as duelist, tyrant, and hero and dares its characters to break free from the false reality that shapes even these aspirations and dreams.

The Familiar by Mark Z. Danielewski, author of Houseof Leaves, whose core narrative concerns an twelve-year-old girl in thrall to an entity whose intentions are unclear but may be shaping the fabric of reality itself; which depicts the inner lives and uncertainties of her parents with just as much detail as they struggle, and sometimes fail, to make the right choices to help her; a story which, even in its incomplete form, explores a notion of a greater S.E.L.F that is not just you but also those who share something with you, where characters from other realities blur into transcendent archetypes in this one.

Digimon, perhaps the quintessential work of portal fantasy, not only Digimon Tamers, which steers the genre into a place of trauma, cosmic horror, and adults horrified by children saving the world, but also Digimon Adventure, which creates strong character arcs for eight very different children as they try to navigate a strange alien world, and shows us their struggle to reconcile with their parents as part of the process of understanding themselves.

The Neverending Story by Michael Ende,foundational text for Homestuck, which tells us not only about the rich possibilities inherent in reading oneself into fantasy worlds, but also the terrible potential for harm in making oneself an emperor over them.

Pale, by Wildbow, author of Worm, an urban fantasy story about three teenagers thrust into a world of magic and murder, a world where symbols literally create reality, where concepts like Carmine and Aurum have a powerful pull, where the Self is something that can be nourished or taken apart and put back together, a story where the parents are not just supporting cast but fully realized people forced to reckon with the ways in which they have deeply failed their children, and which contains perhaps the most thorough investigation of the question of “is it good for children to go on magical adventures?” ever committed to the page.

Heaven Will Be Mine, by Aevee Bee,in which the giant robots we pilot through space become the symbolic manifestation of our inner selves and our way of bringing about our ideal reality, and, relatedly, We Know the Devil, in which the repression of those selves causes them to burst out from us in terrifying and glorious new forms.

Crow Cillers, by Cate Wurtz, an often trauma-filled horror comic in which a group of kids and, eventually, adults, tries to fight back against an ever-present death cult that has its grips on every corner, all the while encountering Psyforms, beings made of pure mind, while characters from television and cartoons dance in the margins and all the while the line blurs between audience and art until it becomes difficult to tell who created who—a story that asks what it means to find meaning in stories when the corporate entities that own them are trying to devour us.

It's a tragically short list, I know. But perhaps it conveys some of the angles we might take.

We can also look at works that are known to have inspired by Homestuck. There aren’t many yet, but there are a few.

Undertale is famous for its Homestuck influences, with parallel timelines, an idea of agency that persists across them, and a contentious relationship between player and character, but for my part, I’m just as interested if not more so in Deltarune, which seems to be slowly building a grand thesis about portal fantasy, where the kids' adventures in the Dark Worlds seems to be offering them an escape and helping them become their best selves—but hints at a coming challenge to that simple worldview in the question of who’s really experiencing that escape.

The Locked Tomb, by Tamsin Muir – This is the big one, that really shows what building on Homestuckian themes can achieve. It turns out there really is an audience for weird aggro formalism in scifi publishing if you make it sufficiently gay. But smartly, like Homestuck, the Locked Tomb builds its weird mysteries gradually, adding on layer after layer on the solid foundation of characters we can follow and get invested in. There’s so much to notice – there’s the highly categorized teenagers involved in a murder feud, there’s the constant whiplash of humor and tragedy, there’s the endlessly open spaces in the story to interpret and project on to.

But to me, what stands out the most is the portrait of God and his court as every bit as emotionally chaotic as the sniping teenagers. You go to heaven, and God’s making out in the corner with his friend group, and you look for the adult in the room but the adults in the room don’t know what they’re doing and they never really did. It’s a portrait of the parents, it’s a portrait of the Ancestors, it’s a portrait of the gods of the new world, and it’s exquisite.

The Locked Tomb gives us a world at war with its own mythological narrative, rich with angst and irony. It’s a worthy successor to everything Homestuck was doing. It shows us how much these themes can say to us, and it gives us a hint at how powerful Homestuck's legacy might be.

7. THE APOTHEOSIS OF HOMESTUCK

There’s a lot of discussion about how to continue Homestuck. How to do it justice. What post-canon might look like, and what it might not. What fan comics, what fan fics, what semi-official works truly live up to the spirit of its characters and its multiverse.

To be clear, those discussions are awesome. I’m so glad those things exist, and it’s wonderful to see them unfolding.

But I don’t want the process to stop there. I'd be disappointed if it was only about adding to and re-articulating Homestuck itself.

I want this—

—This multifaceted, complicated, emotionally laden thing that is the experience of engaging with and creating with and interpreting Homestuck—

To go out into the world and to be infused into the world, to become waves spreading further and further. I want to experience the Homestuck artistic movement, the Homestuck school of thought. I want it to be an influence on the fiction of the coming generation of authors, and the next, and the next.

I want Homestuck to be one of those albums that's too obscure to be known by the general public, but everyone who listened to it went on to start an enormously successful band.

Homestuck can appear like a thing that was conjured out of the ether, but it isn’t. It’s a product of a particular time.

But that in itself is profound. When you create art, you reach back to all the things that have shaped you, and you listen to what the world around you needs, and you try to say what needs to be said. Which means you're a part of a history and culture that needs to say those things, which will be different from the things that needed to be told yesterday, and different from the stories that will be needed tomorrow.

There’s no otherworldliness to it, no platonic other reality. But for all I've talked about art being made of choices, there's still something transcendent here.

To make Homestuck—and to make art inspired by Homestuck—means being a node in a web formed of millions of people, where a light passes down the chain to you, and for the briefest of moments, you get to be filled with its presence, before it moves on to the next person in the chain.

That light isn't yours. Not really.

But at the same time, you do get to choose how that light manifests.

And to engage with that process consciously—to think deliberately about what we want to create—that gives us power and agency over that process, our sense of the world, and ourselves.

So let’s do this. Let’s make the thing that Homestuck is telling us can exist, the thing it’s paving the way for, the thing we know in our soul can come to be.

Let’s make the next Homestuck happen.

—Ari

POSTSCRIPT

“To put out a manifesto you must want: ABC

to fulminate against 1, 2, 3

to fly into a rage and sharpen your wings to conquer and disseminate little abcs and big abcs, to sign, shout, swear, to organize prose into a form of absolute and irrefutable evidence, to prove your non plus ultra and maintain that novelty resembles life… I write a manifesto and I want nothing, yet I say certain things, and in principle I am against manifestoes, as I am also against principles… I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air…”

— Tristan Tzara, “Dada Manifesto 1918”

"The cyborg is resolutely committed to partiality, irony, intimacy, and perversity. It is oppositional, utopian, and completely without innocence....the cyborg would not recognize the Garden of Eden; it is not made of mud and cannot dream of re-turning to dust...This is a dream not of a common language, but of a powerful infidel heteroglossia. It means both building and destroying machines, identities, categories, relationships, space stories...I would rather be a cyborg than a goddess."

— Donna Haraway, "A Cyborg Manifesto"

“What we need is works that are strong straight precise and forever beyond understanding... let each man proclaim: there is a great negative work of destruction to be accomplished. We must sweep and clean…to divest one's church of every useless cumbersome accessory; to spit out disagreeable or amorous ideas like a luminous waterfall, or coddle them—with the extreme satisfaction that it doesn't matter in the least…freedom: Dada Dada Dada, a roaring of tense colors, and interlacing of opposites and of all contradictions, grotesques, inconsistencies: LIFE.”

— Tristan Tzara, “Dada Manifesto 1918”

“These are really the thoughts of all men in all ages and lands, they are not original with me,

If they are not yours as much as mine they are nothing, or next to nothing,

If they are not the riddle and the untying of the riddle they are nothing,

If they are not just as close as they are distant they are nothing.”

—Walt Whitman, Song of Myself

𖤓

#homestuck #homestuck analysis #what comes next after homestuck #the future of homestuck #homestuckian art #you are actually 100% sure walt whitman said that

321 notes · View notes

sapphicthunderhead · 2 months

Text

TMAGP 21 Spoilers Ahead!

Right out the gate we get yet more confirmation that Sam is trying his best to do the right thing, but that his curiosity is a substantially greater motivating factor behind his actions than either his self-preservation instincts (which may be nonexistent) or his moral principles. This is positively fascinating characterization.

Also, this episode really uses setting to help establish tone in a much subtler manner than a lot of podcasts, which require the characters describe to the setting verbally (Penumbra, Sherlock & Co., Malevolent). Of course, I don’t think it’s quite on the level of setting-through-sound-design that The Silt Verses pulls off, but environmental storytelling isn’t as necessary to the plot and world-building in TMAGP as it is in TSV, so that’s not necessarily a criticism.

Celia cracks me up with her talk of “complicated immigration status.” Every scene featuring Celia is heavy on Dramatic Irony from the perspective of we who Know (have listened to TMA) and bring an element of mystery to the plot for any and all audience members, be they in the Know or not— just a little bit less for the former. Reminds me of the early days of TMA in the way. Jonny does a great job of introducing a mystery element seamlessly into all his horror fiction, and I think the two complement one another perfectly. For another example of this, see his book 13 Storeys (it is spelled that way deliberately). I highly recommend the audiobook on Audible.

(Did anyone else subconsciously assume Jack was some sort of sinister Fear receptacle before this episode? Celia seems genuinely emotionally attached to him, so I’m a little less concerned now.)

On to the statement itself: FUCKING MAGNIFICENT. I am positively infatuated with this one. So much suspense! So much information, such a beautiful bit of storytelling, and yet NO ANSWERS! I am dying for an explanation here, in the best way possible— because I also found myself perfectly content to just enjoy the events unfolding while I was listening.

I really felt that the authorial tone and style Jonny used for this character, Mr. Kennings, harkened back to one of the major inspirations for TMA: the ghost stories of M.R. James, one of my favorite horror authors (alongside Shirley Jackson). I first read his collected works after Jonny mentioned him in a Q&A, and I was hooked; I have since re-read his work a couple of times.

But it wasn’t just the style of this episode I enjoyed. The substance was also very satisfying. I find the idea of the scholars and administrators of the Institute bickering like petty children whilst using their most formal jargon, attempting to conceal their contempt for one another behind a flimsy facade of civility, incredibly amusing. I also found Kennings’ jabs at the British monarchy and his concern about soil toxicity and its effect on the laborers and foremen at the construction site allowed me to follow his perspective somewhat sympathetically— although I was horrified when he did nothing to assist the poor man whose decrepit old doppelgänger emerged from the earthen wall of the ditch to drag him underground. But I should have expected it. Kennings worked for the Magnus Institute, after all.

As an aside, this tragic event could have a couple of possible symbolic meanings. The description of the haggard elderly counterpart of the younger construction worker, who drags himself out of a wall of dirt that Mr. Kennings specifies exhibits “tell-tale indications of heavy metals in the earthen edges of it,” evokes the idea of a young man confronting what his life looks like if he continues to sacrifice his health and safety to this dangerous line of work. It could also be the reverse: the old man killing a younger version of himself who made poor choices (because he had so few choices or none at all, because he had to support himself or a family, who knows?) that would otherwise have killed him slowly and perhaps agonizingly, the toxic gas seeping out of the soil and into his lungs and blood. By the end of the statement, I was surprised that the writers had titled the statement “Breaking Ground” instead of “Poisoned” or something along those lines.

Alice trying to protect Sam from the scary little men in the computer was very amusing. Silly Alice, he serves the plot now! There’s nothing you can do to stop him, my dear! Mwahahahaha!

Lena Kelley being worried about Gwen wasn’t entirely unexpected, but does further emphasize the contrast between her and Jonah-Elias. Still unclear whether Lena is a cog in the Fear machine or is actually doing anything to protect humanity, but she clearly thinks she’s doing the latter. Can’t wait for her disillusionment arc, epiphany, and/or moment of self-awareness.

Then we have Gwen, Ink5oul, and…. What the fuck is that. What the fuck what the fuck what the fuck? That can’t be Jon. Another Archivist? Gertrude? Doesn’t sound like it. Who? What? Definitely an extension of the Eye, but the voice is unfamiliar.

Returning to the subject of Kennings’ statement: this series continues to emphasize that there are no clear delineations between Fears. Doppelgänger? Stranger. Dirt? Buried. Pollution? Extinction. All of the above? It’s just fear. That’s all that matters.

#the magnus protocol #tmagp #tmagp spoilers #tmagp 21 #oiar #tma entities #tma spoilers

59 notes · View notes

mythicalgeek · 7 months

Text

The Dark Crystal Age Of Resistance is a tragically underrated work of art.

If your a fan of fantasy like Lord of the rings, Harry Potter and Star Wars please give The Dark Crystal Age of Resistance a watch.

Its a prequel series to the 80s movie and it's one of the best fantasy shows in recent years and goes back to classic fairytales and mythical storytelling.

Everything is mostly done with practical effects and only uses CGI where it's really necessary. The show also brings back puppetry and even though none of the character's are humans there's more humanity in this show than most media we get today.

The world of thra is a magical and strange place that you find yourself immersed in, with all the creatures and beuaty of the natural world at full display you find yourself encanted by it.

The gelfings are really adorable and you can't help but care about them, the main three protagonists have well flushed out personalities and each one has a interesting journey they go on that lead them to start the resistance and the quest to save there world.

The Skekies are really creepy and make for some pretty great villains. There motivation and interactions are giving just as much time as the heros, they rule thra with cruelty and manipulation, stealing the live force of the planet and the then the gelfing. There some of the most terrifying villains we've gottan in the last few years and I gotta say, I was absolutely horrifying by them.

This show does a lot of things right and one of them is how it writes the female characters. Deet and Brea (the two female leads) are very feminine heroines who are kind, empathetic, intuitive, clever and strong without it being showed in our faeces. Even when the female characters are warriors or soldiers there femininity is not devalued or see as a weakness. We also have more complex characters like Seledon and the gelfing leaders (who are all female) and it's just so nice to have a fantasy show that handels the female reputation so beautifully.

At the same time the male character's are also written with the same amount of care and respect, for example Rian (the main male lead) is a soldier who after finding out the truth about the skekies, is faced with the hard challenge of spreading the truth while dealing with loss and trauma, we see plenty of moments where his aloud to be vulnerable and we see him grow into a strong leader for the resistance.

We also have Hup who even though he is a side character, is a lovable podling who steals every sence he's in. He dreams of becoming a hero and has such a heartwarming friendship with Deet it's hard not to love him and want more of him.

All the relationships between the gelfing feel so intimate and pure, wheater there familial, platonic or romantic the show gives us so many beautifully written relationship and dynamics, that add to the emotional core of the story.

There's also some political drama with the gelfling clans and the skekies as they try to hold on to there power, it's done in a way that both kid's and adults can follow.

The action is surprisingly good for show with only puppets, we have sowrd fights, flying gelfings dropping booms, wild carriage rides and it's really exciting and done well.

There is only 1 season unfortunately but it's still worth the watch, I do have to warn everyone that there is a lot of scary and truely horrifying moments so if your sensitive maybe give this a pass, but there's a balance between the dark and whimsical and there's so many funny and sweet moment's that allow you two catch your breath.

This series is a hidden gem in the world of fantasy and that's a dame shame because it is everything you could whant from a epic fantasy story that we just dont see a lot of anymore.

I like shows like The Witcher and Rings of power but none of those shows have captured my imagination or sense of wonder like the dark crystal aor did. I have so much love for this beautiful, weird, creepy, wonderful, magical puppet show and I wish it got more recognition for the work of art it truly is.

The Dark Crystal Age Of Resistance is pure magic and deserve so much more attention. It's on Netflix so check it out if your looking for some good fantasy.

#the dark crystal #the dark crystal age of resistance #Netflix #jim henson #star wars #lord of the rings #harry potter #jim henson company #fantasy

28 notes · View notes

sirianasims · 6 months

Note

TRUTH: What's something you had planned for your legacy but it turned out completely different?

Oooooh, you’ve opened a can of worms now! 🐛

The short answer is: The rest of the legacy.

Originally, I had 12 generations mapped out, but I got tired of rushing through each one, so I have now decided that we’re staying with Julia for a long time and then she will be the last heir. I wanted to take my time and really flesh out her story and try new things with my storytelling instead of sticking to my usual 10 short chapters per generation.

Here is an 🌟 exclusive 🌟 original look at what was supposed to happen. If you read my story back when it was on Wordpress, there was a bit more emphasis on the vampires, but I’ve since toned this down when I started reposting everything to Tumblr because none of this will be happening now.

Very long post under the cut:

🦙 Generation 5 is Julia, and she was supposed to have a single child, a son named Marcus. What actually happens in Julia’s life remains to be seen as I have completely rewritten her entire story.

🎤 Generation 6: Marcus wants to become a stand-up comedian but he’s not actually very good at it. He’s a bit of a hippie and finally decides to just move to the woods and start a commune. He has a daughter. He grows his own weed, but ends up infected by a weird, purple plant that starts growing in his fields. He becomes more and more strange until he is tragically killed by Lilith Vatore, who herself dies after biting him.

🦇 Generation 7: Marcus daughter, Nadia, grows up with her grandparents after witnessing her father’s death. She doesn’t remember how he died but is plagued by nightmares about vampires and becomes obsessed with them. As an adult, she becomes an author of steamy vampire romance novels, writing under a pseudonym. She ends up coming into contact with Vlad and her childhood trauma is triggered by meeting Caleb again. She later works with Caleb and Vlad in their attempt to solve the mystery of why Lilith died from biting her father and they discover the purple plants. She falls in love with Vlad and they have twins, Oliver and Paulina.

🍳 Generation 8: Oliver, born a vampire, dreams of becoming a chef and eat real food. Against his father’s will, he takes the vampire cure, but he struggles to deal with his new mortality and aging. He meets a younger woman but reject her in favour of his career, feeling that he doesn’t have enough time for both. She marries someone else and he becomes a celebrity chef, but realises that it’s all meaningless without love and goes to win her back. They have a son, Quinn, but Oliver is getting old and dies when Quinn is only 21.

🌴 Generation 9: Quinn is distraught after losing his father and wants to make sure he gets as much out of life as possible. He decides to travel the world and eventually ends up in Selvadorada where he meets the grumpy tour guide, Isadora, who hates his spoiled ass at first. They get lost in the jungle and discover a strange purple plant, but wisely keep their distance. They eventually find their way home but Quinn has fallen in love with Selvadorada (and Isadora) and decides to stay and work in her father’s museum. He and Isadora have 3 kids.

🚓 Generation 10: Their youngest son, Tulio, decides to become a cop. After making a big mistake, he gets reassigned to the sleepy and boring Henford as punishment. However, Henford has become a lot less boring lately, and Tulio and his partner investigate some strange things happening, finally discovering some underground ruins which contain a huge purple plant that seems to affect the minds of the locals. Tulio decides that this seems supernatural and calls in backup from his great-grandfather Vlad, and they get another piece of the puzzle of the purple plants.

⭐️ Generation 11: Tulio’s daughter, Vanessa, decides to become a famous actress but she secretly longs for eternal youth and beauty and is jealous of her vampiric ancestors. She tries to talk Vlad into letting her become a vampire, but he says no, so she instead tries to seduce and convince Caleb. Shenanigans ensue, including Vanessa murdering her husband, the father of her child, for being a bit of a dick.

🌺 Generation 12: Vanessa’s daughter Xena decides to find the truth behind the Duchelli family’s strange past. She ends up in Strangerville and finally solves the Mother Plant mystery, discovering a convoluted plot involving aliens that goes all the way back to her ancestor Eric’s brother, Daniel, the half-alien from Generation 2.

The End.

If you read this far, well done! I’m impressed. Have a cookie 🍪 and a picture of Vlad. He will make his way into another story instead, and so will many other ideas from my original draft.

#answered asks #duchelliextras #zaddislaus

36 notes · View notes

hanzajesthanza · 1 month

Note

I wondered what is your favourite witcher moment? A moment/chapter that really struck with you? And why?

hmmm...

as for "favorites"...

i consider baptism of fire chapter 7 to be my favorite chapter out of the saga, because every scene in it is fantastic and a personal favorite... firstly, the frame story (love a good frame story!) of the children of vyrva hearing the legend from old storyteller pogwizd. then the heartache and black humor of regis loredropping his backstory, followed by interesting intellectual discussion, geralt's company and zoltan's company being reunited, emotional shattering of geralt consoling milva, and finally, one of the best action scenes: the battle of the bridge. and geralt and regis' side conversations in this chapter really serve to illustrate just how much geralt developed as a character in this book, a major aspect of why it's my favorite in the series (imo, geralt before baptism of fire is not as compelling as during and after it).

my favorite short story is something more, for its ending with geralt and ciri. and for its scenes with calanthe, yennefer, and death, each with powerful emotion. and for how visenna appears... i actually can't get through something more without crying, i cry every time. also, of course, geralt telling dandelion that he must have gone crazy with fear if he could think that geralt would leave him there... and i also think something more is an example of incredibly good writing, in terms of weaving everything together.

my favorite setting is beauclair, i find it really beautiful and yet the most tragic, in its beauty, because our heroes cannot stay there and it's not their destiny to live happily ever after. i joke "my mind is in beauclair" but it's actually true, it's the setting for a lot of my daydreaming and there's something so magical about it.

my favorite character introduction is tied inbetween dandelion (voice of reason 5) and angouleme (tower of the swallow 5).

in ciri's story, i think tower of the swallow was her strongest book, within that i like her time spent with vysogota. and, of course the ice skating scene on tarn mira is well-written and orchestrated (my favorite detail is that bonhart realizes what she's planning, and turns back without warning any of the rest... foreboding, foreshadowing, but also, hilarious).

and maybe an unpopular opinion: i like chapter 6 of time of contempt, when ciri is in the korath desert. it was a great way to break the crazy action of chapter 4 and interconnected politics of chapter 5. i find it to be much more figurative than a lot of people see it: "oh, ciri's in the desert and has to survive." yes, that's the literal interpretation of events... but the point of it is that she's abandoned by everyone who she thought promised to never abandon her, she realizes that all she learned is useless. and she wanders the desert ("for 40 days and 40 nights," one might say). the suffering is the point. it breaks her. it's hard to change a character this drastically, it's also hard to write a chapter with just one character and their introspection without much happening (expect for ihuarraquax showing up in the middle of it, i mean). but i think it was done well and was placed in exactly the right moment with the rest of the book. time of contempt has probably the best pacing out of the series.

the witcher does "suffering" really well, that's probably why it struck such a chord with me. so anything where a hero is in anguish is well-loved (for instance, geralt's monologue to iola in voice of reason, or the ending of a grain of truth).

i also like anything that is an allusion or in reference to another work or history, particularly when i can pick up on it - either i knew it before i read, or when i've had time to look into it and research it.

in particular, i like seeing odyssey parallels, like in the last wish, how geralt and yennefer go back to this ancient topos of a hero in conflict with a witch or sorceress, using trickery to defeat her - odysseus and circe - but yennefer is the one to trick geralt instead; and then they find love genuinely, putting this manufactured conflict down, recognizing a connection, not hatred. and i also see an odysseus - circe thing with geralt and fringilla. and one of the reasons i like beauclair so much is because of the "magic land tempts heroes into staying forever, staying their quest and making them either drugged or miserable" which is like at least four different places in the odyssey: the island of the lotophagoi, circe's aiaia, calypso's ogygia, finally, scheria... someplace so perfect and beautiful that you just want to stay, but it will be your doom if you do. very metaphorical. and also on this topic, i think regis is like the anti-polyphemus, being a great host and displaying exemplary xenia, giving the heroes wine and not eating them or drinking them. it's them who get drunk, not him!

segueing from this, my favorite part of the odyssey is odysseus and telemachus. and so i really like everything about geralt and ciri, and how ciri inherits this misery of being a witcher from her father, though her future is left up to reader interpretation, i love the lines in chapter 7 of lady of the lake that she was all alone amongst an archipelago of places... i really like their story that he tried to save her by leaving her, and it was his leaving her which doomed them both. and i like how sapkowski decided for ciri to be a girl, which not only makes her interesting and unique as a hero, but also invites more interesting examination into her and geralt's relationship as a father-daughter relationship rather than a patriarchal lineage father-son inheritance. (the witcher would be so trite if ciri was a boy).

oh yes, anything relating to isolation and loneliness is a big win for me, which is also probably why i like the witcher so much, it's all about that

i have to stop writing now but i could literally go on about more favorite things for hours <3

#i like how the marketing team that took this photo of the books put them out of order simply so that #cahir could be inbetween milva and regis and dandelion could be next to geralt #ask #anon #the witcher books

16 notes · View notes

bugsinthebayou · 1 year

Note

okay how do i get into the mechs ... i would like to know about these robots now i think

GRINS. HI. HELLO.

The Mechanisms are a steampunk space pirate storytelling band!! they are compromised of 9 members (up until one of them left). they retell myths n legends in space, tragic, and queer

they have four main story albums, a single, and two extra albums for extra stories

for the four main albums, you have to listen to all the tracks in order so i recommend listening on youtube

Once Upon A Time (In Space) is their first album. its fairy tales retold as an intergalactic war

Ulysses Dies At Dawn is their second one. this one is greek mythology

High Noon Over Camelot. oh boy high noon over camelot. my favorite mechs album and my favorite album just in general. arthurian legend retold as a space western

The Bifrost Incident. norse myth but eldritch horror

their single is Frankenstein (frankenstein except the monster is an AI), and their other two albums are Tales To Be Told volumes I and II. theyre both collections of extra songs that either work as standalone stories or fit into the same setting as one of the main albums but doesnt follow along the main plotline

they also have Death to the Mechanisms, which was a performance of some of their songs live plus a song of the same name as the album that describes how they died a final time. this was because they split up. no more mechs music </3

out of all of them i recommend hnoc the most. cuz its my favorite <3

i apologize for not explaining the albums further, but you asked about the mechs themselves so im gonna put more focus into explaining those guys

the mechanisms themselves are 9 immortal space pirates. they are immortal due to their mechanisms, mechanical replacements of certain body parts. they travel the galaxy on the starship known as Aurora, who is infact sentient and also dating the ship's engineer. they like to "have fun, violence, adventure, violence. violence." according to jonny

Jonny d'Ville - he/him. he's claims he's the ships captain. hes the first mate. he is the narrator to all of the albums and plays a number of characters. King Cole (ouat(is)), Ulysses (udad), Lancelot (hnoc), Galahad (hnoc), and the void (tbi) are a few. there's more, but theyre more minor. hes pretty shooty and has canonically committed every crime (that existed on a planet) except the sexual ones. his mechanism is his heart!

Gunpowder Tim - he/him. master at arms! hes another one that sings often. he also plays the guitar. a few characters hes been are Oedipus (udad), Gawain (hnoc), and Loki (tbi). his mechanism is his eyes. hes also on the violent side. he blew up the moon, as detailed in the song Gunpowder Tim vs The Moon Kaiser from the ttbt vol 1

Ashes o'Reilly - they/them. quartermaster. they sing often and their voice is beautiful <3 they play bass aswell. some characters theyve played are Hades/themself (udad), Mordred (hnoc), and Sigyn (tbi). their mechanism is their lungs. theyre also a mob boss and arsonist and have been since they were 12 years old, described in their backstory song Lucky Sevens

Drumbot Brian - he/him. pilot. he doesnt sing as often but its great when he does! he plays a few different instruments. a couple of his characters are Merlin/himself (hnoc) and the robot spouse in Stranger (ttbt vol 2). everything except his heart is mechanical. he was thrown into space because he brought someone back to life

The Toy Soldier - it/its. its just there!! it sings often and plays the mandolin. some characters are Cinders (ouat(is)), Orpheus (udad), and Guinevere (hnoc). its a toy soldier. it was never human it just started walking one day

Raphaella la Cognizi - she/her. science officer. she is another singer!! and pianist!! her voice is heavenly tbh. notable roles are Ariadne (udad), Ygraine (hnoc (one song but it Slaps)), and Odin (tbi). her mechanism is a pair of wings!

Marius von Raum - he/him. doctor (not even a doctor). he sings and plays violin. and mandolin the wiki says. Heracles (udad), Arthur (hnoc), Thor (tbi). his mechanism is his right arm

Ivy Alexandria - she/her. archivist. she plays a few wind instruments, no singing. her mechanism is her brain

Nastya Rasputina - she/her. engineer. she is in gay love with the sentient starship <3. she plays violin, no singing. her mechanism is her blood, which is mercury. she decided to go Out (she believed that aurora was no longer the same starship she fell in love with because of all the repairs over the centuries theyve been alive, so she takes the final piece of the original aurora and exits out of the airlock, never to be seen again) sometime after hnoc

and there you are!! them!!

despite me giving some examples to who they play in the albums, thats not all the characters they play. theres also extra characters in narration i didnt mention (ivy and nastya both have been in narration tracks before) and theres also characters they play in the extra songs in the tales to be told volumes

i hope you end up liking them <333 heres a photo of them all together for u

[ID: A group shot of the Mechanisms. End ID]

#this was longer than expected sorry anon ahdjsnd #you activated the autism #answered #anon pog #id from princess-of-purple-prose

83 notes · View notes

seouldramaspot · 4 months

Text

Exploring the Enchanting World of "Goblin" (Guardian: The Lonely and Great God)

youtube

Goblin, officially known as "Guardian: The Lonely and Great God", is a South Korean television drama that has captured the hearts of millions since its debut in December 2016. Created by Kim Eun-sook and directed by Lee Eung-bok, this fantasy romance series has left an indelible mark on the world of K-drama with its unique storyline, captivating characters, and stunning cinematography.

In terms of genre, "Goblin" falls into several categories, including fantasy, romance, melodrama, and supernatural. It blends elements of romance and fantasy with a touch of humor and poignant storytelling.

Plot Overview

The series follows the story of Kim Shin, played by the charismatic Gong Yoo, a 939-year-old goblin who has lived an immortal life. Kim Shin was once an unbeatable general in Goryeo's military who was betrayed and killed by a jealous young king. Cursed with immortality, he lives through the centuries awaiting a human bride who can pull out the sword embedded in his chest, ending his eternal life. Enter Ji Eun-tak, portrayed by the talented Kim Go-eun, a high school student with a tragic past who has the rare ability to see ghosts. Eun-tak is revealed to be the "Goblin's bride," and her presence brings new meaning to Shin's existence. Their lives intertwine in a fateful, romantic, and often humorous journey that transcends time and destiny.

Key Characters and Their Dynamics

1. Kim Shin (Gong Yoo): As the titular Goblin, Gong Yoo delivers a masterful performance, embodying both the gravitas of an ancient warrior and the charm of a man experiencing life anew. His character is both tragic and endearing, seeking solace and redemption through love.

2. Ji Eun-tak (Kim Go-eun): Kim Go-eun's portrayal of Eun-tak is heartfelt and genuine. Despite her hardships, Eun-tak remains optimistic and resilient. Her relationship with Kim Shin evolves from a chance encounter to a profound love story that defies the bounds of time.

3. Grim Reaper (Lee Dong-wook): The Grim Reaper, whose true identity and past are revealed gradually, adds depth to the narrative. His friendship with Kim Shin and his own love story with Sunny, Eun-tak’s boss, provide parallel plots that enrich the series.

4. Sunny (Yoo In-na): Sunny, a quirky and beautiful restaurant owner, becomes entwined in the supernatural world due to her connection with the Grim Reaper. Her character adds warmth and complexity to the storyline.

Themes and Visuals

"Goblin" is a rich tapestry of themes such as love, redemption, and the human condition. The drama explores existential questions about life and death, fate, and the pursuit of happiness. The use of poetic dialogue and philosophical musings sets it apart from conventional dramas.

Visually, "Goblin" is a feast for the eyes. The series is renowned for its breathtaking cinematography, blending the beauty of natural landscapes with intricate urban settings. The visual effects, particularly the scenes involving the goblin's supernatural powers, are both seamless and mesmerizing.

Cultural Impact and Legacy

"Goblin" has become a cultural phenomenon, not just in South Korea but globally. Its unique blend of romance, fantasy, and humor has struck a chord with audiences. The drama's OST (Original Soundtrack) also gained massive popularity, with songs like "Stay With Me" by Chanyeol and Punch becoming instant hits. The chemistry between Gong Yoo and Kim Go-eun is palpable, and their performances have been widely praised. The series has won numerous awards and continues to be a favorite among K-drama enthusiasts.

youtube

The soundtrack of the Korean drama series "Goblin" (also known as "Guardian: The Lonely and Great God"), which starred Gong Yoo and Kim Go Eun, is widely celebrated and has significantly contributed to the show's success. The OST (original soundtrack) is known for its emotional depth, beautiful melodies, and poignant lyrics, complementing the series' themes of love, fate, and immortality. Here are some notable songs from the soundtrack:

"Stay With Me" by Chanyeol and Punch:

This song is arguably the most popular track from the series. Its haunting melody and emotional lyrics capture the essence of the relationship between the main characters. The combination of Chanyeol's deep voice and Punch's ethereal vocals creates a memorable and moving piece.

"Beautiful" by Crush:

"Beautiful" is another standout track that highlights the poignant moments of the drama. Its simple yet powerful melody and heartfelt lyrics make it a perfect backdrop for the tender and bittersweet scenes between the characters.

"Hush" by Lasse Lindh:

This song adds a touch of indie charm to the soundtrack. Its soothing tune and delicate vocals enhance the emotional atmosphere of the series, particularly in scenes that explore the quieter, more introspective moments of the characters.

"I Will Go to You Like the First Snow" by Ailee:

Ailee's powerful and emotive voice shines in this song, which became a massive hit. The lyrics express the longing and enduring love that are central themes in "Goblin." This track often accompanies some of the most dramatic and emotional scenes in the series.

"Round and Round" by Heize and Han Soo Ji:

This song features a mystical and haunting quality that perfectly matches the supernatural elements of "Goblin." Its atmospheric sound and evocative lyrics make it a memorable part of the OST.

"Who Are You" by Sam Kim:

This track has a soulful and reflective vibe, adding depth to the soundtrack. Sam Kim's smooth vocals and the song's introspective lyrics resonate with the character's journeys and their search for identity and purpose.

The "Goblin" OST is renowned not only for its musical quality but also for how well it integrates with the storyline, enhancing the viewing experience. Each song is carefully selected to reflect the emotions and themes of the drama, making the soundtrack a beloved aspect of the series for fans.

Goblin" is more than just a television series; it's an experience that lingers long after the final episode. Its compelling narrative, unforgettable characters, and stunning visuals make it a must-watch. Whether you're a seasoned K-drama fan or new to the genre, "Goblin" offers a magical journey that is both heart-wrenching and heartwarming.

Honest Comment: When I first saw this series I was like "hmm not my genre" because of the look of the series but when I watched it I was amaze because of the act of the actors especially Kim Go Eun she is amazing, she executes her character very well. I love the cinematic of the series you can feel the vibe , the emotions and everything you can feel about it. I love the plot of the series. There is one episode that made me cry like a baby I can feel the emotions of Kim Go Eun character her feeling towards to her partner and the plot with the Grim Reaper he is one of my favorite the story, the emotions, and the facial expression it is like he is talking to me, but I will not forget Gong Yoo's character he did his character so well that no one could replace it. This series makes my heart happy and sad especially when I hear their songs it can touch you heart. Big thumbs up for this Series. This will always be my top tier korean drama series.

#koreandramaseries #goblin the lonely and great god #kim go eun #gong yoo #Youtube

9 notes · View notes

icaruswasadreamer · 4 months

Text

If We Were Villains: a book review

Or, the power of environmental storytelling, amazing characterization, theatrics and what it does to a STEM student with a passion for the arts

A/N: This is my first time writing a book review, and I decided to make up a little formula for myself to follow for the rest of my reviews. Truthfully, IWWV is not my first book, but it has defintiely inspired me enough to write something for it that isn’t fanfiction so here it is. Feel free to share your thoughts and bring up discussions, as this book is dear to me in many ways and it deserves to be talked about. Do note all of this is my opinion and that is all it will ever be. Hope you enjoy this review/semi-analysis of IWWV that I am less than qualified to talk about, but that is the beauty of self-expression. Please be warned of spoilers which will be marked as to where they Start.

How I was Introduced to the Book

I first learned of the book through booktok. And I know the implications of that statement and the reputation of booktok in the bookish community. I, myself, don’t think too highly of booktok (as it is where all the colleen hoover fans worm about), but I have to admit that it is, by far, one of the best avenues to discover authors and books, no matter the romanticization of reading as a hobby or the misinterpretation of these books. Truthfully, without booktok, I would not have asked my friend to buy me a copy of If We Were Villains for my birthday and I wouldn’t be enamoured by its narrations and characters as I am right now. There was a specific tiktoker that I followed for the fact that they have read a lot of dark academia books – which is a genre that I’m getting into right now! If We Were Villains was introduced to me as a really great book with a lot of twists and turns, and I went into it with that expectation.

The Book Itself in My Own Words

Imagine that one picture that comes up whenever you search “dark academia aesthetic” on pinterest. There is a manor at the far end of the photo, distant and castle-like. Vines and greenery cling to it as if it were the old cobblestone shrine of a forest God and its windows are hauntingly grey with dust as if it were lived in by no one except ghosts. You are only outside looking in, and there is no scene you can manage from the manor. What you can observe, however is a lake. It reflects the greyish bluish white sky above it and it does not move against the life, the nature that surrounds it. It is ever present and everlastingly still; ultimately very boring to the people who spare it a glance, but go beyond depths you and I can comprehend or imagine. Think of that image, but in book form. Oh and add several other complicated things in it too, just for flavor.

If We Were Villains by M. L. Rio is a hauntingly, tragic mystery about 7 friends who made the mistake of being gay theatre kids. It’s the found family trope in reverse as you watch as their life fall apart in the incident of a murder that no one is really sure who did. We follow Oliver Marks, essentially the main character and the narrator of the story as he describes what his life is like and how it’s about to be ruined because some guy was too petty to accept that he isn’t always the star of the show. Watch the 6 of them go through the motion, pretending everything is fine and that they’re all not mentally ill in some way while quoting shakespeare that no normal person does.

As sarcastic as I sound, it is genuinely a wonderful, captivating story about grief, friendship and art. Everything is so complicated (in a good way) and you’re not really sure what to feel about all of it, but at the same time, you stay for the ride because the feelings are worth it, just to see this show to the end just so these characters can reach their epilogue finally. The way I would describe it is imagine all those reading assignments and book reports you had to do in your english class about a sonnet or play, then mix it with all the gay fanfiction one would read in the witching hours of 3 am as you sob quietly to yourself because you know your ship will never be canon. It is a culmination of these two things, and it’s awesome.

First Impressions/Last Impressions

I struggled with getting through Act I of IWWV. And I do genuinely believe that this was not at all the fault of the author or the story as the set up was interesting and mysterious and curious enough for me to get hooked. It just so happened that the fish was uninterested and busy with other things that I did not get into immediately as I would have hoped. Despite this – and after several months of not reading – I managed to pick up the book again and return to where I left off.

Perhaps it was the fact that there was a large gap of me not reading IWWV and then the sudden bolt of me reading it religious explains why I found the first parts of IWWV quite slow. I do recognize this as a part of the set up and exposition of the book and was entirely necessary for the emotional impact that it would give me by the end, but prowling through those first few chapters was hard as someone with a short attention span and have several hobbies aside from reading and writing.

But now, after almost a year of trying to finish this book properly, I have to say that I am wrecked and I will never be the same again. I thought I was going to hate the endng, truthfully, as its implications was bleak and somehow, undermines the efforts of its characters. But, the epilogue had me pleasantly surprised and relieved, that I would have to say that the ending was exactly my cup of tea. I’m still not sure on where I stand with happy endings or tragic endings, but I do in fact love open endings – endings left to interpretation, the kinds that will make you tear your hair out because where is the rest of it? Why is the book just- done? And here is where fanfiction comes to play, my friend.

The journey has been a journey, and I definitely have to say that I have learned a lot from this book and that it was easy to fall in love with the book despite the rough beginning.

//SPOILERS START HERE//

How I fell in Love with It

The atmosphere IWWV gave me which was extremely immersive and can only be described as delightfully haunting. It is peak gray – and gay – atmosphere that I really enjoyed as it felt like the right amount of theatrics to not be too dramatic and satirical. Something also surprising is the fact that it is oddly humorous despite being a book about murder, shakespeare and what makes a tragedy. Actually, considering it is inspired by shakespeare, the humorous aspect is not so surprising if you take into account some shakespeare being pretty absurd as it is. The unironic things these characters do like randomly quote shakespeare out of nowhere is so pretentiously funny, but also contributes well to what the book is going for.

As unnatural as that would be for like a normal person, because Oliver and his friends are so deep into the shakespeare of their classes, they make it feel natural and you get used to that as the story progresses. Oliver had a really good justification for this which he explains to Colbourne in a way that I truly resonate with. This book, as well as the characters, are so in love with Shakespeare’s words that it’s hard to not find yourself enamoured by it to. I love the way they describe taking art like this as I feel, as an artist and creative, that this is an artist’s ulttimate purpose. To capture the things that cannot be said properly through ordinary words, and to encapsulate those moments of heightened emotion and feeling. Any piece of art is an attempt to reanimate emotion, and we use art to deliver those emotions that we, ourselves, cannot fully comprehend.

This is what I love about this book, aside from its brilliant storytelling and interesting and raw characters. It feels like it was made with the intention of appreciation for art, and I really respect that as art means so much to me. This book is art and it is about art as much as it is about this specific friend group dealing with whatever just happened, and I really really love and appreciate that about this book.

Strong Points/What I learned from It as a Writer

IWWV is genuinely a master class in environmental storytelling. The Castle, where everyone stays at during their time in Dellecher is the most effective use of environment I’ve seen in a book (which I’m sure there’s more, I just haven’t read it yet in which I will at some point). The way the castle has a place for everyone, and the scene wherein Oliver is seen cleaning the different rooms of the Castle goes to show the amount of detail the author puts into each little cranny of their descriptions of the Castle. One specific detail I remember was in Richard’s room where a chess board was described with one horseman toppled over and another missing. I may be tweaking, but that might just imply something about story. Aside from the environments, IWWV also makes good use of its inspiration material which is shakespeare.

I definitely should have gone into IWWV with some knowledge of shakespeare and I would encourage anyone who wish to read IWWV to read at least one shakespear book, because I didnt and I am incredible lost on how IWWV uses those narratives of Shakespeare’s plays to reference its own tragedy and characters and I am extremely upset that I didn’t get to experience that other narrative of the what the play were trying to tell the reader. But of course, you don’t have to have a background in theatre or shakespeare to read IWWV. It would extremely as they constantly quote shakespeare and if you don’t know what those quotes mean, you will get lost at some point, but you can manage through it (as I said, the book does well with these quotes that it starts feeling natural enough that you, too, would start to make sense of these quotes even if you would struggle at first). But, from what I have heard from people who have read the book and Shakespeare, the plays do reference and foreshadow the story within IWWV.

The play Ceasar directly reference how Richard is going to die and who’s going to kill him. Like Richard is the modern Julias Ceasar, he is someone who has caused tyranny in their group of friends and provoked James to hit him on the head which led to his friends eventually leaving him for dead. I still struggle sometimes with that betrayal because in truth, Richard was their friend for 3 years and then they’re just gonna throw him away like that? I think it’s just how I view friendship, but to be fair I don’t like Richard enough to be angry that he died. And that’s a good way of utilizing source material! Because who killed Ceasar if not his most intimate of friends.

This is kind of like Chekhov’s gun in a way except we’re talking about multiple guns and you’re in a gun shop and the fact that the guns are constantly being fired. Everytime the environment is being described, it doesn’t get boring or go into super great detail. I’m always seated for those descriptions of the environment because at some point one very specific detail will mean something to the story more than you expect it would. Otherwise, it contributes to the atmosphere and helps you feel incredibly immersive. I think much of what I read are heavily character-driven (which isn’t a bad thing!) and IWWV is also heavily character-driven in terms of plot, but it uses its environment well. Like it exists and isn’t just an extension of the actors themselves, but it doesn’t just exist as a setting, it exists as a plot device. A carefully crafted set for a performance. IWWV was a wonderful case study for me to be able to spot those little details in the environment and try my hand in interpreting what they mean, like a detective looking for clues – which is very fitting!

Characters and characterization was also very good in IWWV. Every character was equally flawed and all of their actions warrant a “What the actual fuck?” from me. The amazing thing about IWWV is that despite its title, none of these characters are bad people, just very flawed with poor decision-making skills. Even Richard, I would argue, is still a gray character despite being an asshole! It was entirely his fault for becoming needlessly petty and aggressive towards his friends, but I don’t really think that undermines their 3 years of friendship together. I genuinely believe that Richard was just a guy with a big ego that was too fragile for his own good and he did really dumb and shitty stuff about that. He isn’t your 2D Villain, because his actions were triggered by the event of something – being casted as someone that wasn’t the main focus of the play. And his friends and the reader have in their every right to be angry at Richard for the shit he’s done, but you have to admit he wasn’t always like that. He changed and that is the most admirable thing about the character writing in IWWV.

Everyone is very dynamic, but not too drastic for it to be jarring. They fit well together despite having contrasting personalities and all of them have something going on in terms of their personal life. It’s a shame we don’t exactly see ther perspectives as we are limited to Oliver’s narration, but we do get glimpses of it and I believe that is enough for the characters to feel real. My favorite character, Filippa, is the most mysterious one from the group in terms of backstory, but I know enough that she is willing to do everything – even hide a murder – just to protect her friends, her family, probably because she doesn’t have one of her own in more ways than one. And I got that from a single line that she said to Oliver when he asked why she hid the fact James did it.

“You all were the only family I had. I’d have killed Richard myself if I thought it would keep the rest of you safe. [...] I was terrified you’d do exactly what you did.”

Each main character of IWWV have their own tragedy to their character which is rooted upon the “type” of character they are in the beginning of the story. They all both defy and fit perfectly in their own roles in the narrative and that is their tragedy. Oliver is the sidekick who became the center of attention by his arrest, James is a hero who murdered a friend, Richard is a dead tyrant, Meredith is a temptress who wishes she was seen as anything but, Wren is the broken and frankly, no longer as innocent as she ought to be ingenue, and Alexander is the villain with good intentions. Filippa is the curious case as she does not have set role, this does not excuse her from being tragic, but it does makes sense how she is the only able to stay relatively stable throughout the story. In the very beginning we were already told of what tragedy these characters would have and it is all connected to their role in a stereotypical narrative, how they are type-casted in their plays.

I would go into each of the characters and their own personal tragedies and flaws, but that would be really long, so I won’t. But these characters and the play on the type-casting of these actors are perfectly executed. I would like to cite James’ arc for this as he is described as being the hero, but slowly, as we see how he and everyone else copes with Richard’s death and how he gets casted into the villain role, we saw how this changes him and how his archetype of being the hero slowly crumbles to make way for a darker James filled with immense amount of guilt that only perpetuates with Oliver’s arrest. We see how it breaks him as his hero persona is no longer his. He takes up the role of the villain, and that kills him because he was never meant to play that role. Everything about him screams hero and I think he himself believed that, so his sense of self crumbles away as it is slowly revealed that he is in fact, the villain of this story. And yet, what makes him the villain is still technically a heroic act. He killed a tyrant after all. And that is just hella clever.

IWWV almost reads as really complicated fairytale if you think of it as these characters as the archetypes of their roles. It is definitely the most fascinating and creative way of character writing I’ve ever seen and that is a feat on its own. It follows a formula, yet it defies the routinely-ness of that, the audience can understand what’s going on like in the middle of the book and I think that serves well in this scenario because now, it’s only a matter of dread and waiting for the final act to commence. I never felt like I was reading an intermission in any parts of it as everything, both character and environment, serve the plot really well.

Criticisms/Pet Peeves

But of course, despite all my praise, this book is not free of the criticisms and I did feel frustration for some parts of it whether it was good or bad frustration. It’s not a perfect book and I have a few gripes with it.

The way it treats Meredith and Wren specifically is appalling. It, sadly, goes into that really bad trope in some queer books of the women getting in the way of the men hooking up. I really feel bad for these women because, even if they still have their own things going on and they are able to be their own characters, they somehow become extensions of the men that they are involved with, and everytime, it is extremely unfair.

I’ll just say it, Oliver is just using Meredith to forget about James. I don’t doubt he loves her or doesn’t think of her as attractive because he does, but there is an aspect to their relationship that they both don’t deny is really connected to Oliver’s and James’ relationship. This is a flaw of Oliver’s character that I don’t like because it’s so unfair for Meredith and the way they started their relationship is also kind of dubious? I mean, Meredith went for Oliver not only because he was “nice��, she also went for him because he was the only one available and the complete opposite of Richard. Meredith had no interest in Oliver in the first few scenes of this book and Oliver also didn’t really think of her much because she was already with Richard, but he couldn’t deny she was pretty. I just don’t like the implications of their relationship to Meredith’s character and her struggle with objectification and her constantly being sexualized by the men around her. I know Oliver wouldn’t do that, but at the end of the day, isn’t he just using her?

I desperately want to believe in their love and I do! But it gets so bad when you mix in James because suddenly, Meredith no longer exist to Oliver. He literally went to jail for the guy, of course, his love for James isn’t equal in any way to his love for Meredith. I also just don’t agree with how the ending has Oliver and Meredith together only for Oliver to essentially leave Meredith because he finds out that James might still be alive. He admits that he was still in love with James! I understand that polyamorous relationships are a thing, but clearly Oliver has shown to be neglecting of Meredith whenever James comes to his peripheral vision! I just think that, maybe, Meredith deserves better than how Oliver is treating her.

And god, don’t get me started on James and Wren. They, frankly, came out of nowhere! I think its because we are limited to Oliver’s perspective so we don’t see how their relationship developed and how their dynamic would go. I do see that James cares much for Wren and vice-versa and that they could totally work, but god, when you mix Oliver into it, Wren just doesn’t exist. I am extremely upset about the part where James gets incredibly drunk and then drags Wren to sleep with him for the same reasons Oliver sleeps with Meredith! And I hate it.

It’s very messy, and very well-written and very in-character, but god the implications. The way these women are being treated in the relationship drama is just to serve the men’s own relationship and how they totally belong to each other, but somehow they’re not together and they have to stay with the women and it’s really messy and Oliver is a disaster bisexual. Maybe I just don’t like love triangles or love squares, but this is just a prime example why you shouldn’t date someone in the same friend group. It’s messy and sometimes, I debate with myself if it was necessary. Either way, it happened and I can’t do anything about that.

Overall Thoughts/Scoring

I have a lot of thoughts about IWWV and the book itself has a lot of themes and messages that really struck me. One thing that I really liked about IWWV as an aroace-spectrum person is the friend group’s relationship because despite all the tragedy around them, they manage to be really wholesome and there examples there of platonic intimacy that I don’t usually get to see in books. I love how Oliver and Filippa are essentially like siblings with how they are always there for each other and Filippa is always looking out for him and their other friends. I love the brotherly relationship between Oliver and Alexander. And despite my gripes, there are moments in Oliver’s and Meredith’s relationship that remind me that they were friends first and lovers second, and I really appreciate that.

I didn’t mention Oliver’s and James’ relationship as much because I’m pretty sure that’s what you would expect for me to say. It’s a good relationship, I like it since I’ve always been a fan of that kind of dynamic where they transcend the meaning of best friends, they’re gay essentially, but they are also each other’s person and their intimacy is beyond physical. I’m just describing sexual/romantic tension here but everytime they are in screen together, you just know that they are looking at each other with so much emotion. And of course, what Oliver did for James was incredibly stupid, but also just states what James is to Oliver. And it’s really codependent, don’t get me wrong, but it’s a kind of love that makes you feel thing.

I also would like to comment on how it tackles grief and guilt as those are major themes in the story. I appreciate how despite being dead, Richard is still ever-present in Oliver’s mind and everyone else’s that no one even bothers to go to his room aside from Oliver who just has to because he has to clean it. Guilt haunts everyone in If We Were Villains and I feel for that, especially when it comes to grief. It captures perfectly what mourning for someone who did some really bad stuff to you is like with the added guilt that you somehow contributed to his death. And it’s cruel how these people just have to deal with that major change; nothing is ever the same when someone dies and we can’t do anything about it. The show must go on, unfortunately. And that’s what happens to these characters, on or off the stage, life will continue with or without them and they have to go with out, otherwise they might end up drowning in their own misery. I think that is much the moral we can find in IWW, if it even has one.

//SPOILERS END HERE//

My scoring would be an 8/10. It’s really good and I recommend it to anyone who’s a fan of shakespeare or really into dark academia. I wouldn’t say it would be the best introduction book for this genre, but it got me into it so maybe it could work for you too!

#if we were villains #iwwv #if we were villains spoilers #booklr #bookish #book review #book recommendation #iwwv spoilers #this was 7 pages in my gdocs #writer things

7 notes · View notes

neverunderestimatea711 · 11 months

Text

Doppelgänger was FABULOUS! The character and plotlines were super interesting as well

SPOILERS BELOW

I loved Machina X Flayon/Abandoned Automaton plotline. It was my favorite out of all the routes.

An abandoned machine, who loves his master despite not having a human heart. The expression of his emotions through the frustration of his "master" trying to leave him again results in a very tragic and violent end.

The character building in such a short amount of time was so impressive. You could really feel the anguish and the mechanical nature of the Automaton.

The voice acting was also excellent, as expected lol. The passion Flayon showed through his voice lines were spectacular.

The Josuiji Shinri/Huntsman route was also incredibly tragic and beautiful. I love sacrificial love displayed in fiction, and The Huntsman delivered.

There was a great deal of storytelling and worldbuilding in his route in particular, bur it was never confusing to understand. He was such a sweet character and gave up everything to see the MC live. Although I knew him for only a short time, his route was incredibly impactful plot-wise and emotionally. The Huntsman route is my second favorite route.

I wonder how the game will influence Tempus lore, because members of Guild Tempus were involved in the plot somewhat.

Amazing game! Shout out to the Tempus boys and all the managers who were involved in this project.

#holostars #tempus #holotempus #doppelganger #doppelgänger #holostars doppelganger #holostars doppelgänger #hallowtempus #josuiji shinri #machina x flayon #banzoin hakka #gavis bettel #axel syrios #regis altare #my post

18 notes · View notes

indignantlemur · 5 months

Note

You’ve talked about visual art a bit, but I was wondering what other types of art/creation Andorians might be partial to (for example: writing, music, theatre, ecc.)

(For writing: I know there’s a big importance in fairytales so I was wondering if they leaned more towards short stories, rather than longer novels or poetry)

(You’re incredible and your writing is amazing btw!)

Hello! Thanks for the ask - this is a great question! (Also: aww, thank you! <3 )

Andorians are huge on music and theatre. The Andorian opera is renowned across the Federation (and beyond) for its technical excellence and emotive storytelling. All Andorians are born with perfect pitch, which gives Andorians a beautiful talent for music in all its forms. Their orchestras are slightly less well known than the operas, but no less talented - and often lauded for their technical excellence. Additionally, while Andorian vocal chords are very similar to Human vocal chords, they do have small structural differences which allow for a slightly broader range of sound on average than Humans generally can achieve. Humans can absolutely perform Andorian operas, but some pieces are extremely taxing and require exceptional range. Also, every single mistake, no matter how slight, will be as loud as a fog horn to every Andorian in the audience so... no pressure.

Theatre and opera developed hand-in-hand for Andorians as a natural development from story-telling during the worst parts of the year where it was too dangerous to venture outside for more than short durations and only if absolutely necessary. From these roots came a deep love of adapting historical and mythological events into dramatic scenes, though it admittedly took a bit longer for fictional stories to catch on as viable sources of inspiration.

(Andorian theatre kids go hard - bodily harm is frequent and expected. The band kids are weirdly militant and treat rehearsal like it's actually life or death, no matter what their instructors say. The choir kids are absolute prima donnas - but the problem is, they actually have the range and talent to back their attitudes up.)

In terms of writing, the long tradition of story-telling gives life to this as well. Andorians have long, spiralling epics that follow the lives of the heroes almost from birth until death, but they also have short stories in the form of folk tales and mythology.

As Andorians developed as a society, writing fiction really took off as a medium for self-expression and, in some cases, a means of offering scrutiny and criticism around a facet of their society. Andorian murder-mystery novels are well known for their twists and turns, often featuring no less than three or four sub-plots revolving around the central plot (at least one of which is a red herring), and they all have painfully, exactingly detailed descriptions of procedure and processing. Andorian romances are either tragic or absolutely filthy - or both. They're not quite as big on fantasy, for some reason. No one can quite get a satisfactory answer out of Andorian authors on that one. Their science fiction is actually pretty interesting, but it tends towards Orwellian themes, usually handling moral quandaries centering around private personhood in a world of ever-encroaching technology and surveillance.

As for poetry, Andorians do enjoy poetry and produce quite a lot of it, but the subject matter tends to be (a) vibrantly colourful and full of visual cues, (b) modern stories modelled on ancient sagas, or (c) enigmatic and heavily veiled in metaphors. The lattermost are considered the most personal, and generally the meaning is only known to the author and, if applicable, the intended recipient(s). Often times, these pieces are kept private even after the author's death, and only very rarely will examples of this kind of poetry make their way to the general public.

Thanks for the ask! I hope I answered everything!

#star trek #andorian #andorians #emigre by indignantlemur #headcanon #Andorian arts #Andorian opera #Andorian theatre #Andorian writing #Andorian poetry #Andorian music

7 notes · View notes

b-else-writes · 6 months

Text

The Great CLAMP Re-Read Part 3: Tokyo Babylon

The CLAMP 90s series. Perhaps their greatest work ever. Tokyo Babylon ran from 1990 to 1993, concurrent with RG Veda, the CLAMP School, Shirahime, Chun-hyang, AND X. It makes you wonder how X and Tokyo Babylon shaped each other (but more on that later). Tokyo Babylon (and X) is also set in the same universe as the CLAMP School reflecting CLAMP’s early interest in crossovers. Planned out as 7 volumes, it consists of 11 big stories and 3 annexes. I read the omnibus versions which contain lots of coloured art, but the original print run is a beauty in 80s and early 90s graphic design.

While I'd never read this before, it's famous enough (two OVAs, a drama CD, and a live action movie), that I went in knowing some of the big spoilers, but not details. So while my reading was coloured by the knowledge of its tragic end, it still felt revelatory to me. It is the first CLAMP work where I think they had gotten their storytelling pinned down enough to consciously think of how to write a story that ties together on a thematic level, in every stage, and it's phenomenal. Heavy spoilers.

Synopsis: Onmyoji and thirteenth head of the Sumeragi clan, Subaru Sumeragi is called upon to solve occult mysteries in post-bubble Tokyo. It's a time of glittering lights, a rotten economy, and city populated by lonely people desperate for an answer to their problems as the millennium draws near. Joined by his fashionable twin sister Hokuto and the kindly but strangely sinister vetenarian Seishiro Sakurazuka - who is in love with him - the overly sacrificing and empathetic Subaru must solve these problems and learn how to live - but Tokyo is not a kind place, especially to those with gentle natures.

The Story: On its surface, Tokyo Babylon begins as a "case-of-the-week" style story, where Subaru has to solve an occult case and learns something. Its a deceptively simple premise that allowed for CLAMP to explore pressing social issues of their time (which still feel resonant due to the sensitive way they explored them), while also building upon Subaru's character development through this, and the suspense of Seishiro's true nature. We observe Subaru grow through his failures and learn more about the limitations of his empathy. No case feels pointless in how it develops Subaru as a person, and his relationship to Seishiro. The dread we feel about Seishiro's connection to Subaru grows that we almost believe we might just get out of this. It's just excellently plotted out.

The comedy is well-timed and CLAMP know when to pull back from it to allow the emotional aspect to come through. Every case is incredibly gripping and I even cried reading "Old". I have seen some suggest it would have been more effective to have a massive twist rather than seed Seishiro's psychopathy throughout, but I actually think this works on a thematic level, and finding out Seishiro is a murderer, the bet, and Hokuto's death, still hit like a gut punch. It's a brilliant usage of seeding information without the full context until the end. I have no complaints here. It's a poignant story of Tokyo in the early 1990s and its destructiveness, while never losing its humanity.

The Themes: Do you know why the cherry blossoms are red. Tokyo Babylon is a story about well, Tokyo. It's about how modern city living that pursues only personal gain and conformity leads to human loneliness, and loneliness is a trap that destroys us all. We can never know someone else's pain, which leads to loneliness - but to recognize that is also freeing because it means we cannot judge and be judged for it. Having empathy is good, but too much and for the wrong people and not for yourself, can only lead to death. Subaru forms his self-identity through others, in contrast to his self-actualized twin, remaining aloof and detached from his own self - this is why Seishiro's betrayal breaks him, because Subaru doesn't know how to live as his own person. It is also what causes his loved ones so much harm in how little he loves himself in comparison to others.

Its a fascinating interplay between community and individuality, the reality of modern life of trying to be someone while also needing to generalize, without ever really settling on either side. Hokuto is right that they're not the same person, but Subaru is also right that they are deeply connected, as all people must be. Where it does come down hard is that humans are not the villains but Tokyo is, in what it represents - greed, selfishness, cruelty, and apathy. "Things like this happen in Tokyo everyday". It is intensely tragic and yet, strangely, incredibly life-affirming. Despite everything Subaru suffers, people are not born and made evil and everyone should be taken for who they are, not a faceless mass. Including ourselves.

The Characters: Like the plot, everything in the characters is tied into the story of Tokyo. Seishiro is Tokyo: the slick, cool-cut well to do man in a suit with no empathy and a taste for violence. He's Subaru's mirror - charming AND connected to people, and yet not. Nobody is special in Seishiro's eyes, nobody deserves to be treated as anything but an object. And then we have Subaru, poor sweet Subaru who is so empathetic and yet so detached from the world and himself because he's so focused on only his job, on not being an individual. He is what Tokyo wants him to be, filled with self-loathing and frankly suicidal impulses that he shouldn’t be alive if others are not.

It's so tragic to watch Subaru finally grow into a person, but to do so to the one person who will hurt him. Subaru wants to to love Tokyo so badly, that it kills his sister, the one person he SHOULD have been pouring his love into, the person who could love him back and expect nothing in return, the person who would allow him love while not dissolving himself in it. And Hokuto is just a showstopper, funny, kind, witty and cool. She's Subaru's northstar, the empathy and humanity where he cannot, almost co-dependent. I love characters that reflect one another and the themes.

The Art: The visual storytelling and panelling are fantastic. Tokyo Babylon offers a sparser and more distinctly black and white look than RG Veda, with a stronger emphasis on emotional paneling that breaks into beautiful spreads. It creates an almost wood-block, timeless appeal (despite the fashion) that is neither too busy nor too simplified. Anything to do with the Bet and especially the finale is incredible. Subaru surrounded by cherry blossoms? Haunting. The fashion is impeccable, I love the bold design choices in the covers and spreads. The character designs in and of themselves are quite simple (and I don't love the seme-uke look of Seishiro and Subaru), but the personality-costuming is so well done and tell stories themselves. And the use of Hokuto and Subaru being identical to conceal the twist? Masterful character design. My only complaint is some of the scanned photo backgrounds are jarring against the lovely drawn art.

Questionable Elements: Subaru is 16 and Seishiro is 25. That being said, I do think from their interviews and the actual text, we aren't meant to ship them, and it's not unrealistic to be a teen and fall for an older person only for it to majorly fuck you up because they abuse their greater knowledge to harm you (which hey, might be a theme!). Some of the way issues are handled is dated, but not too badly. Again, I’m not going to comment on whether this is queer representation or not, since I don’t think that has ever been CLAMP’s intention. Despite the stereotypical seme and uke stuff, the relationship feels real and tangible (which is why the payoff works). My real gripe is Hokuto getting fridged, though it's handled better than expected (still. let's stop killing women to make men sad).

Overall: A beautiful tragedy and an ode to human alienation, identity, and empathy. I went into this expecting to like it, and ended it never the same. It is genuinely a fantastic, fully complete thematic work from them that speaks as a reflection of the time it was written, and yet remains resonant. I know some people find it edgy, but I actually don't think edge is its intention, it's dark and it's tragic but never misanthropic. Yes, Subaru enters the adult world broken, but his refusal to become like Seishiro and to continue to count himself amongst humanity despite everything, reaffirms that life and people have value (notwithstanding his behaviour in X).

You can see so much of their ideas crystallize here that they’ll repeat across X, Xxxholic, etc. We're all just lonely people and we hurt each other in our loneliness, and it's important to recognize that in ourselves and take care of ourselves for it. We have value as individuals AND through others. Read it!

#clamp #tokyo babylon

9 notes · View notes