#like you know narrative structures can contain some themes that relate to other narrative structures???

[cucumberteapot]

I really can't understand this weird dichotomy Twitter has manefested with Gwen, Hobie and Miles as a love triangle. Bro, the whole point is that it's not a love triangle. It's Schrodinger's triangle. Hobie isn't interested in Gwen, and Gwen isn't interested in Hobie and until he actually meets the guy, everything Miles learns about Hobie is second-hand information from Gwen - That they're friends and she's been living with him for a few months. Miles isn't even all that jealous (because what's there to be jealous of??), he's just a 15 year old boy trying to find out if his crush is single and not attracted someone else he doesn't even know! Because, yeah, around this age, you are insecure, and you don't just ask the person you're interested in if they'd want to date you. And when it's obvious there's nothing between Gwen and Hobie, this plot point is dropped because its served its purpose in conveying Miles' uncertainty in himself.

[devsgames]

I have been sitting on this thought for some time and I want to hear your opinion about it as a fellow game designer.

Is horror a game genre?

TL;DR: Horror as a category is useful, but it doesn't quite fit as a genre in a system where we define it by gameplay In game design, genre is often associated with mechanics. If in an analysis of a game we leave only the key mechanics, then we can determine the genre. It works the other way around - puzzle has some mechanics, a shooter has different ones. But horror doesn't have key mechanics? This made me wonder if horror IS a game genre. A similar example for me would be "Educational Games". Is edutainment a genre? Some of them are puzzles, some of them are action games for quick reactions. It’s easier to say that this is a “modifier” of a game and because of it the approach to design changes, but if you remove all its elements, you still end up with a game. It’s the same with horror games, if you remove horror from Resident Evil, then it’s action. If you take the horror out of Clock Tower - it's point and click. FNaF is a puzzle game, Slender, Outlast - an adventure game, and so on. In my opinion, horror is not a genre, but a modification, since the core genre of the game will always be hidden under it. However, it should be noted, that as a game category, it still is useful, especially for consumers.

Right, so before diving into any talk of genre I need to be clear that I don't think "Genre" as a concept itself is a hard-coded categorization system. It's sorta just a vague notion that two pieces of media are related, and once you try ascribing rigid definitions to everything it all (rightfully in my opinion) falls apart. The realm where people sit down and try to hardcore categorize game genres like it's some kind of science (looking at you, The Berlin Interpretation) is incredibly contrived and frankly just goofy. I think once it reaches this point it quickly crosses into the realm of being mindlessly rigid and 'genre' as an idea stops being useful as the high-level-establishing reference point that it is. (Related: Get someone to define a universally accepted definition of the "Role-playing game genre" for me.)

To that end, I've long held the belief that trying to categorize games by genre is a fruitless endeavour that is ultimately circular. Generally I find the practice just amounts to little more than a fun thought experiment. It's sorta like how it's fun to ask someone if a tomato is a fruit or a vegetable (spoiler alert: the actual real answer is "technically it can be both and to most people the distinction doesn't actually matter"), or like asking someone if a bowl of cereal is a soup. It's for fun but when you get down to it doesn't really solve many problems. I get it, we as humans just like putting things in neat little boxes, but I don't know that it actually matters that much.

That being said: "If in an analysis of a game we leave only the key mechanics, then we can determine the genre" -> I see where you're coming from, but I think this also sort of fundamentally misunderstands "genre" as a wider media concept.

"Genre" is defined by what media contains in all its elements. Just because games have mechanics while other media don't, that doesn't mean game genres are implicitly and solely defined from these mechanics (despite what games marketing might have you think at times).

While mechanics can inform genre, just because games contain interaction doesn't mean that is purely what defines their game genre. Take Horror as an example; in games and otherwise "horror" is dependent on building up specific emotions (usually being horror/terror) and as such mood and realization play a key component in evoking those fear responses in people. Elements like theming, artistic choices, narrative structure, and so on inform the genre of 'horror' just as much as the mechanical gameplay within them.

To that end, you can say that Five Nights at Freddies and PT are similar in genre (because they're both trying to spook you) and Five Nights at Freddies and Papers, Please are of genre (because they're both told through the 'administration simulator' framing with gameplay mechanics revolving around 'desk management'). While the latter might have more in common mechanically, in the end they both have like concepts and that could serve as a reference or build to an understanding between the two, so they're both roughly similar in genre.

As a more extreme example, "Call of Duty" tends to glorify war and military violence, while "This War of Mine" paints a desolate picture about what war does to a community. CoD is an action-packed First Person Shooter while This War of Mine is a slow-paced management simulator. Both are very different tonally with little mechanical comparisons between the two, but both deal in similar narrative and thematic genre (being war and its various interpretations and impacts). The wrapping might be different, but there's still cross-genre trappings there to connect them.

I think treating "Horror as a modifier" is interesting because if anything I tend to view it the opposite way, where mechanics modify genre instead. A Horror game at its base, modified by "First Person Shooter" as a mechanic, or a Educational game modified by "Puzzle" as a mechanic. It's all apples and oranges at some point. 🤷

As you said though, I think genre is primarily useful as a tool for analyzing media or as communication shorthand to help a viewer 'at a glance' understand what a piece of media is related to. Once you start trying to get into the weeds with trying to draw hard conclusions on what is/isn't 'genre' it all becomes overall less useful and more like rearranging deck chairs on the Titanic.

[anyawritesthings]

Poetry 101

Intro

Welcome to a sneak peak into my Intro to Creative Writing class! We're in our poetry unit right now, so I thought I'd share some tips that I've picked up. Credit goes to my prof, she's the best <3

The Different Categories

Structure

Free verse/informal verse: Free verse or informal poetry is poetry that is not bound by rules regarding rhyme or meter.

Blank verse/formal verse: Blank verse or formal poetry is poetry that adheres to a metrical pattern.

Content (two main categories)

Narrative: Narrative poetry, like fiction, has a plot, characters, and setting, and tells a story through verse.

Lyric:  Lyric poetry, on the other hand, expresses the thoughts and feelings of the poet and is sometimes contrasted with narrative poetry, as it does not relate events in the form of a story. Historically, lyric poetry was often intended to be sung and accompany musical instrumentation.

Types of Poetry

Sonnet:  A sonnet is a formal 14 line poem, typically (but not exclusively) concerning the topic of love. Sonnets contain internal rhymes within their 14 lines; the exact rhyme scheme depends on the style of a sonnet.

Elegy: An elegy is a poem that reflects upon death or loss. Traditionally, it contains themes of mourning, loss, and reflection. However, it can also explore themes of redemption and consolation.

Ode: Much like an elegy, an ode is a tribute to its subject, although the subject need not be dead—or even sentient.

Ballad: A ballad (or ballade) is a form of narrative verse. It typically follows a pattern of rhymed quatrains. 

Sestina: A formal form of six unrhymed stanzas of six lines each, followed by a Tercet (three lines.) This type of form is often used to examine a subject from different viewpoints. The Sestina depends on an intricate pattern for the repetition of end-words.

Slam Poetry: A form of performance poetry that can be narrative or lyrical, formal or informal. It is intended to be performed to a responsive audience.

Roundelay: a poem with a refrain that recurs frequently or at fixed intervals, as in a rondel. The term is also loosely used to refer to any of the fixed forms of poetry (such as the rondeau, the rondel, and the roundel) that use refrains extensively.

Haiku: A haiku is a formal  three-line poetic form originating in Japan. The first line has five syllables, the second line has seven syllables, and the third line again has five syllables.

Pastoral poetry: A formal poem that portrays and celebrates or examines the natural world, rural life, and landscapes, and may have religious themes.

Villanelle: A formal, nineteen-line poem consisting of five tercets and a quatrain, with a highly specified internal rhyme scheme. Originally a variation on a pastoral, the villanelle has evolved to describe obsessions and other intense subject matters.

Limerick: A limerick is a formal, five-line poem that consists of a single stanza, an AABBA rhyme scheme, and whose subject is a short, pithy tale or description. 

Epic: An epic poem is a lengthy, narrative work of poetry. These long poems typically detail extraordinary feats and adventures of characters from a distant past.

Essential Terms

Stanza: A grouping of lines in poetry that are related to the same thought or topic, similar to a paragraph in prose. A stanza can be subdivided based on the number of lines it contains. For example, a couplet is a stanza with two lines.

Rhyme Scheme: The ordered pattern of rhymes at the ends of the lines of a poem or verse.

Imagery: Language that appeals to any sense or any combination of the senses. The collection of images within a literary work. It is often useful to examine the pattern of imagery in a piece of literature, giving particular attention to the ways in which the images collectively reinforce (or  occasionally contradict) the ostensible meaning of the work.

Allusion: References an authority, idea, or text that exists outside the essay or story at hand, one that you, as a culturally attuned reader, would know about. It's a way to amplify meaning by association.

Enjambment: The running-over of a sentence or phrase from one poetic line to the next, without terminal punctuation; the opposite of end-stopped.

End Stop: A metrical line ending at a grammatical boundary or break--such as a dash or closing parenthesis-or with punctuation such as a colon, a semicolon, or a period. A line is considered end-stopped, too, if it contains a complete phrase.

Connotation/Denotation: The emotion or association that a word or phrase may arouse. Connotation is distinct from denotation, which is the literal or dictionary meaning of a word or phrase. For example, the terms "plan" and "scheme" might reference the same thing, but the connotations of the two words differ.

Alliteration: Sometimes called initial rhyme; the repeating of initial letter sounds.

Conclusion

I know the lists were kind of long, but I hope it helped? Also sorry for disappearing for a bit, I promise I'm trying to be more active, school is just kicking my ass rn. Until next time!

[loonatism]

WHAT IS THE LOONAVERSE? PART 2 – THE NARRATIVE DEVICES

LOONA is special among K-pop for its immersive storyline. These girls are not just k-pop idols performing a song, they also perform a story and that story is what we call the Loonaverse.

So, what is the Loonaverse? In a few words: The world and story that LOONA inhabits.

Yeah. Duh. But what is it?

Well… it’s complicated.

The Loonaverse is a fictitious story that borrows elements from real science and fantasy to build its world but also uses allegories, metaphors, allusions and other literary devices to tell its story. Our job as spectators (and specifically us theorizers) is to look beyond those devices to understand the message they are trying to send. In this post I’ll attempt to explain the numerous literary devices used to narrate the story of the Loonaverse.

So, these 2 things are LAW:

Each girl has two conflicts: an external one and an internal one.

The LOONAVERSE story is one of fantasy and mystery.

INTERNAL CONFLICT VS EXTRNAL CONFLICT

Or as I like to call it: UNIT vs SOLO

I’ve explained how the girls are trapped in a time loop and how escaping it was their overarching goal. This is the external conflict of the Loonaverse. The progression of this storyline is seen mainly in the Sub-Unit MVs and LOONA MVs but also in some teasers and other videos like Cinema Theory. The conflict is external because: 1) It comes from the outside. 2) The characters not have power against it, at least not at the beginning. 3) The conflict has effect over multiple people.

Also…

Every character has an internal conflict. A personal story. Each girl perceives the world differently and that changes the way they act and interact with each other. It is internal because: 1) It comes from within the person. 2) They themselves may be the cause for the conflict. 3) The conflict has effect on only one person: themselves. This Internal conflict is presented to us in the Solo MVs. Every solo MV is a window to the character’s mind. While the solo MVs are tangentially related to the main external conflict, they mostly focus on the internal conflict of the character.

External and Internal conflicts often mix and interlace each other to create a wider story. We will see how the external conflict fuels the internal conflicts of the girls and how their internal conflicts will shape the way they act towards solving the external conflict.

FANTASY AND MYSTERY

What is fantasy? The genre of fantasy is described as a story based in a world completely separate from our own. It usually features elements or magical/supernatural forces that do not exist on our own world. It is not tied to reality of science.

Wait a minute. You just spent an entire post explaining the science of the Loonaverse. You can’t call it fantasy now. Well yes, yes I can. Since most of the scientific elements I explained are theoretical, unproved in our world but in the world of LOONA they are a reality, a scientific reality. A reality that differs from our own, and thus a fantasy to us. But regardless of that the reason I call the Loonaverse a fantasy is because of the themes it explores.

Fantasy is a broad genre, it is one of the oldest literary genres, being found in old myths. Some of the themes often found in fantasy stories include: tradition vs. change, the individual vs. society, man vs. nature, coming of age, betrayal, epic journeys, etc. All of these themes are very present in the Loonaverse. But I’ll delve into each one as we encounter them.

What is Mystery? The mystery genre is a type of fiction in which a person (usually a detective) solves a crime. The purpose is to solve a puzzle and to create a feeling of resolution with the audience. Some elements of a mystery include: the Crime that needs solving, the use of suspense, use of figures of speech, the detective having inference gaps, the suspects motives are examined in the story, the characters usually get in danger while investigating, plus these:

Red herring. something that misleads or distracts from a relevant or important question and leads the audience to a false answer.

Suspense. Intense feeling that an audience goes through while waiting for the outcome of certain events.

Foreshadowing. A literary device that hints at information that will become relevant later on.

I just though you should know these definitions.

In the Loonaverse, the “crime” is the time loop itself, and the mystery is finding a way to break it. Or so we think. In reality, the “How do we break the loop?” question is solved rather easily. But can we really call this a mystery if the main question is already answered? Yes! It may no be a mystery story for the characters themselves but because BlockBerry uses various mystery genre tropes while telling the story, it is a mystery TO THE AUDIENCE.

That’s right! WE are the detectives!

In a classical mystery, the detective examines all clues, motives, and possible alibis, for each suspect, or in our case, each character. The same way we analyze every MV, every interaction, every possible clue to where and when everything is happening.

The Loonaverse differs from a classic ‘Who done it?’ by establishing that no suspect is actually guilty. The crime IS the loop, but no girl is responsible for it (or so we think). Our job as detectives is not to figure out who is doing this but to explain how and establish an timeline of events that shed a light to what really happened. In that sense, our job resembles more closely a real crime investigation than a mystery novel.

LITERARY DEVICES

There are many literary devices an author can use to tell its story. Too many to cover them all in here, so I’ll focus on the most recurrent ones in the Loonaverse:

Allusion. Referring to a subject matter such as a place, event, or literary work by way of a passing reference.

Archetype. Reference to a concept, a person or an object that has served as a prototype of its kind and is the original idea that has come to be used over and over again.

Faulty Parallelism. the practice placing together similarly structure related phrases, words or clauses but where one fails to follow this parallel structure.

Juxtaposition. The author places a person, concept, place, idea or theme parallel to another

Metaphor. A meaning or identity ascribed to one subject by way of another. One subject is implied to be another so as to draw a comparison between their similarities and shared traits.

Motif. Any element, subject, idea or concept that is constantly present through the entire body of literature.

Symbol. Using an object or action that means something more than its literal meaning, they contain several layers of meaning, often concealed at first sight.

Genre. Classification of a literary work by its form, content, and style.

Some other literary devices worthy of your private investigation are: Negative Capability, Point of View, Doppelgänger, Flashback, Caesura, Stream of Consciousness, Periodic Structure, THEME, Analogy.

About Genre:

Genres are important because they give a story structure. They help an author tell the story in a way that makes it simple for the audience to understand what kind of story is being told. The classic genres of literature are Poetry, Drama and Prose. Some scholars include Fiction and Non-fiction. 

In film there are a variety of accepted genres: Comedy, Tragedy, Horror, Action, Fantasy, Drama, Historical, etc. Plus a bunch of subgenres like Contemporary Fantasy, Spy Film, Slapstick Comedy, Psychological Thriller, etc. What defines a genre is the use of similar techniques and tropes like color, editing, themes, character archetypes, etc. 

I point this out because the Loonaverse uses many genres to tell its story. Sure, the main story is a fantasy/mystery but every MV or Teaser has its own genre (especially the solo MVs). So, when I point out later that Kiss Later is a romantic comedy or that One & Only is a gothic melodrama, this is what I mean.

TLDR:

The Loonaverse is the world and story that LOONA inhabits. It borrows form real life science and fantasy elements to better tell its story. Each girl has an external conflict (escaping the loop) and an internal conflict (portrayed in the solo MVs). Both conflicts interlace to tell the story. The Loonaverse is a story of Fantasy because it takes place in a different world from ours and it is a Mystery because it is told using various mystery tropes. The story uses multiple literary and visual devices to tell it’s story and fuel the mystery.

REMEMBER: This is all my interpretation. My way of comprehending and analyzing the story. You don’t have to agree with everything. I encourage you to form your own theories. Remember: every theory is correct.

After all that you may be wondering what the story even is. And we’ll finally be getting to that. While I have my own interpretation of the timeline, themes and who did what. I think it’s more fun to slowly explore every brick instead of just summarizing it in one (incredibly long) post. I’ll do that much, much, much later. The journey will be just as interesting as the destination. I hope you’re in for the ride.

Let’s get to the real deal: The MVs. I’m going in chronological order so let’s start with girl No. 1!

Next: The bright pink bunny of LOONA: HeeJin’s ViViD.

[12amys]

Love dies in the city; or the romanticism v. modernism conflict on folklore

In my humble opinion, Taylor Swift’s 2020 album folklore is about the conflict between romanticism and modernism. It sets up the natural as a place of freedom and unrestrained love, contrasting this with the city (presumably New York) as a place of hiding and secrecy that ultimately dooms the integral relationship. In the end, Swift expresses her deepest desires to return to the natural world, to restart the timeline that began with her move to New York, something I will elaborate on when discussing “hoax” and “the lakes.” This storyline is the crux of the album, and the motif I’ve used to classify its songs into six distinct sections, which follow a vague plot that is not represented in the track list order.

the natural (seven, invisible string, betty) I would argue that “seven” represents the heart of folklore, containing what seems to be the album’s mission statement (“passed down like folk songs / our love lasts so long”) and describing the earliest point in Swift’s timeline. This song is the one most directly linked to nature, describing a childhood friendship that takes place in the woods. One lyric, “before I learned civility / I used to scream ferociously / any time I wanted,” implies that Swift found freedom in nature, when her secrets were mere promises to friends instead of the pain she had since hinged her life on. In addition, this song is pure romanticism. The interest in childhood is implied, we can reasonably assume both main characters to be seven years old. To support this, the song states “although I can’t recall your face, I still got love for you,” implying that much time has passed since the events. There is awe of nature (the “beautiful things” are the creek and the trees), emphasis on the importance of imagination (your dad is mad because the house is haunted), and a celebration of the individual (“just like a folk song, our love will be passed on,” where the love is the individual she speaks of). This is the dream that Swift wants to return to, and yet her characters already face conflict (the keeping of secrets, hiding in the closet, an angry father). She romanticizes her past into something she can escape into, creating a sort of mythos around an upset childhood.

Our next nature-intensive song is “invisible string.” She again makes a callback to childhood, citing a park where she used to read in Nashville. It would not be incorrect to categorize this as a love song, perhaps the most lighthearted one on the album. Swift emphasizes time and fate, both recurring themes in her discography. Like “seven,” “invisible string” draws attention to nature as a freeing and healing space, which sets the stage for her romance. Lines such as “gold were the leaves when I showed you around Centennial Park” draw attention to the ‘invisible’ connection the song depicts. In the bridge, she notes that there was “a string that pulled me / out of all the wrong arms, right into that dive bar,” implying a protection from the dangers of interpersonal conflict. Throughout the verses, mentions of any city stay tangential (“your first trip to LA… an American singer”) while the focus lies on her freedom. It is a dreamlike song, which implies that the city can be glimpsed but not detrimental, and showcases an utter belief in things working out. 

It is, then, rather ironic that the final song with unique ties to the environment highlights an unanswered apology after the foundations of romance have been shocked. “betty” is ostensibly narrated by a teenager, James, who plans to make up for her mistake in a garden. This perspective ties into the album’s greater focus on time, in this instance equating innocence (“I don’t know anything”) with a natural setting (the garden, which is explicitly removed from society). At first, James wonders if Betty will allow an apology, but wants it to happen without anyone watching (“if I showed up at your party… would you lead me to the garden”). She then casts this hope aside, dreaming about being able to broadcast her love to the world without fear of judgement (“will you kiss me on the porch in front of all your stupid friends”). It is also, then, relevant that the relationship is ruined when scrutinized (“rumours from Inez”). When considering how themes of secrecy and hiding come into the picture once the narrative travels to the city, it is interesting to look at how the hope of an public relationship prevails here. But in the end, James still dreams of going back to any relationship with Betty, no matter how private (“kissing in my car again”). Of course, Taylor Swift herself is James, and James is Swift, so we know that the secrecy dooms the relationship in the end.

the romance (august, illicit affairs) “august” describes a doomed relationship, perhaps meant to be the affair James has that prompts her apology to Betty. However, the story of a love that was never built to last has been referenced multiple times in Swift’s discography (“Wildest Dreams” and “Getaway Car”) and even expressly linked to summer on 2019’s “Cruel Summer.” These songs show distinct lyrical similarities to “august.” Hence, I feel comfortable describing this song in the context of those, rather than within the storyline of Swift’s fictitious love triangle. (Which is flimsy as it stands, but that’s for another analysis.) While there is no set location, this song describes one kind of coming-of-age (“whispers of are you sure”) and delves into the hope associated with a short-lived romance. Here, there is no secrecy to speak of, but a fear of what will come when a return to society comes (“will you call when you’re back at school”). My contrast for this song is saying it is “Cruel Summer” without the ‘happy’ ending. There is a privacy here (“meet me behind the mall”) but it is the instability of the romance that dooms it (“you weren’t mine to lose”). “august” is a time capsule, a reflection on the love that always would’ve ended regardless of the locale.

The next song, “illicit affairs,” is another one that ‘visits’ the city (for lack of a better term) but places the primary conflict in a largely undetermined setting. In fact, there seems to be a rejection of the urban (“take the road less traveled by”). In the sorting of tracks as they relate to different sub-themes, “illicit affairs” is the first song that says, without preamble, that secrecy is the death of love. While the word ‘illicit’ simply means forbidden, the verses describe sneaking around in a way that has been attributed to cheating since album release. There is virtually no acknowledgement of another character outside of the two lovers, save for the ‘him’ referenced in the perfume line. But it is not this person that the narrator seeks to hide from, it seems to be almost everyone. It could be construed as a song about adultery, but taken in the context of the rest of the album it reads as a lament for having to hide a relationship (most likely a romantic one between two women, but this is extrapolation).

the city (the last great american dynasty, mirrorball, mad woman) Now we approach the slew of songs that deal with the actual location of the city. The first song is “the last great american dynasty,” which seems the most removed from Taylor’s viewpoint and yet involves her directly (“and then it was bought by me”). We get an actual move to the ‘city’ (“Rebekah rode up on the afternoon train”) which is reminiscent of Swift’s own move to New York in 2014. Rebekah is immediately disliked by the people around her, blamed for her husband’s death to the extent where she flies in “bitch pack friends.” (1) Keeping with the theme of folklore’s similarity to a time capsule, one could see this song as Swift retelling her own purchase of Holiday House (and by extension much of the events from 2014/2015) through the lens of someone else’s life. Indeed, part of this theory is directly corroborated by the song through the lines “then it was bought by me” and “I had a marvellous time ruining everything.” In relation to the conflict between secrecy and survival of love, “the last great american dynasty” does not offer much insight. However, it effectively sets the scene for songs to come.

(1): I don’t know anything about Rebekah Harkness’ life, this is just how I interpreted the song. 

After the initial move, “mirrorball” establishes the new dynamic between the lovers. In turn, it introduces the performative nature of romance in the city (which is referred to and combatted with the line “all these people think love’s for show / but I would die for you in secret” from “peace”). Swift expresses interest in a lover who is “not like the regulars,” who wants more than to watch her turmoil. Still, this song finds her drawn into the nature of performing, consistently showcasing her tragedy to let others see themselves to the extent where she cannot even let her guard down when “no one is around.” Even after the circus has been called off, she seems to have entirely integrated with the role of the mirrorball. This provides some introspection on her viewpoint: digging into insecurities under the viewpoint of desperately trying to save a sinking ship. Almost as a counterpart to “seven,” the lyrics to “mirrorball” show some characteristics of modernism. Individualism is represented through the focus on the person who is the mirrorball, while unrelated characters do not warrant much elaboration. In terms of formalism and experimentation, the format and structure of the song deviate from Swift’s usual manner. The concept of a person being a mirrorball (shown in the music video as a disco ball) is both a symbol and verges into the absurd. All the imagery in this track is based in large crowds; featuring a disco, a circus, and masquerade revelers. It both establishes the setting where love dies and assures that the relationship will end (“the end is near”). 

“mad woman” is the final song which establishes setting more than storyline. It proves the city as a angry and dangerous place, one that is not sympathetic to “people like” Swift. We find her contemplating revenge on someone who has done her a great wrong, which is less attached to the general storyline but serves to depict the setting as actively hostile and worthy of contempt. When compared with other tracks, certain lyrics imply that the narrator is hell-bent on getting the last word (“they say move on but you know I won’t” / “you know I left a part of me back in New York”). There isn’t much else notable about this song in terms of what we are talking about, but it does frame several absurdist tendencies in the context of a destructive setting. 

the death (cardigan, exile, my tears ricochet, epiphany)  In “cardigan,” Swift reminisces on a long-past relationship, which has been interpreted to be James and Betty’s teenage melodrama. This is the first of many breakup songs, which idolize what has passed and mourn the loss. We observe many signs of the city (“chasing shadows in the grocery line”) and individualism (“I knew everything when I was young”). As referenced in “betty,” the cardigan becomes a symbol for the relationship at large. Moreso, the idea that the relationship was cursed to end as it begun is elaborated on here (“I knew you tried to change the ending”) even if it is not ascribed to secrecy yet. In reflecting on Swift’s past work, we see many signs of her being accustomed to this thought (“I can see the end as it begins” from Wildest Dreams and “I knew (...) we were cursed” from Getaway Car), but “cardigan” comes across with deeper pain regarding the whole affair. In tying different lyrics together (“back when I was living for the hope of it all” from “august” and “I hope I never lose you” from Cornelia Street), we begin to paint a picture of the true narrative behind the love triangle. Swift knew her greatest love would end—desperately hoped it wouldn’t, prayed they could ‘get away with it’—and finally channels her anger and sorrow into this retrospective. She almost accepts it: love dies in the city.

Another reflection on a past relationship is folklore’s only duet; “exile.” This song discusses an inability to communicate, the concept of determined endings (“I think I’ve seen this film before, and I didn’t like the ending”), and plenty of ‘hiding in the city’ imagery. This sees one narrator (Swift) faking a relationship (“just your understudy”) to hide her true lover (in this context, Iver). Both agree on various facets that caused fallout (“didn't even hear me out... never learned to read your mind… couldn’t turn things around”) until the final disagreement (“you never gave a warning sign / I gave so many signs”). So while the song is fundamentally about a miscommunication, it is evident that much of the misunderstanding comes from ways of signalling the secret relationship. Presence of the city is acknowledged through lyrics such as “I’m leaving out the side door,” “out here in the hall,” implying that the narrators share an apartment. Nature also gets a brief mention here (“breaking branches”), but this usage explains that the freedom of the narrators is fading, just like their connection to the natural. 

Most do not connect “my tears ricochet” to romantic fallout, but there is no denying that the song hinges around prominent death metaphors. Many metaphors used imply that the narrator has broken up with their lover, but still haunts the hope of what could’ve been. In the line “we gather stones, some to throw, some to make a diamond ring,” a connection to marriage is implied, divorcing the meaning from the loss of Swift’s masters. A crowd of people is repeatedly referenced (the ones in a sunlit room, for instance) and the lover must “save face” in front of them. This external pressure contributes to the greater theme of death of love in the city, which Swift equates to her own death. She describes herself as a recalcitrant ghost (“you know I didn’t want to have to haunt you”) but one her lover must have around (“when you can’t sleep at night, you hear my stolen lullabies”). This song is another one that recognizes Taylor Swift the writer within the lyrics; within this interpretation the “stolen lullabies” are the songs that the ex-lover inspired, work she can no longer look proudly on. While no explicit connections to the city are formed, it is obvious that some external pressure resulted in a damning betrayal, which was painful enough to describe as death. 

The final song in this death theme is “epiphany,” which does not discuss the romantic timeline at all. Instead, “epiphany” is the culmination of two sub-motifs on folklore: water and war. In nature, water gains a passing mention in “seven,” but does not truly become relevant in this organization until “the last great american dynasty.” In “epiphany,” the water reference is “crawling up the beaches now,” which serves to distance it from the overall storyline. The song also deals with the war motif (evident in most of the songs, but “ease your rifle” is very literal) and contrasts soldiers at war to doctors during the pandemic. All of this builds on this section’s burgeoning theme of death. It fits in with the album theme, but does not display obvious modernist or romanticist hallmarks.

the chance (the 1, this is me trying, peace) Opening the album is “the 1,” a frequently disliked song but a very telling one. It is similar to “cardigan” in that it reminisces on a past relationship, but the narrator feigns contentment with her current situation. If all of folklore can be considered a time capsule, “the 1” perhaps describes the headspace of the narrator before they begin reminiscing: convinced they are alright, but not holding up very well. This song involves much city imagery (“I hit the Sunday matinee,” “I thought I saw you at the bus stop”) and deals with the aftermath of many events in the album. It is interesting that this song was one of the last written, as one can imagine the narrator went directly from “it would’ve been fun” to “don’t want no other shade of blue but you” (as described in hoax). The love has died here; but there’s a desperate hope to return (“if one thing had been different, would everything be different”). 

Much like “betty,” “this is me trying” is another last-ditch attempt to save a failed relationship. Both songs find Swift in a doorway, ready to apologize, but “this is me trying” bears the weight of experience and less expectation that they will have a second chance. The increased maturity finds acknowledgement of faults without excuse (“my words shoot to kill when I’m mad / I have a lot of regrets about that”) and an attempt to come to terms with the death of the relationship despite pain. This, of course, breaks apart in the bridge (“all I want is you”) but, as Swift consoles herself, at least she’s trying. Setting-wise, this seems to be in a smaller locale (“the one screen in my town”) which calls to mind the “the only thing we share is this small town” from “Death By A Thousand Cuts.” There is also what appears to be a bar (“pouring my heart out to a stranger / but I didn’t pour the whiskey”) and an influx of people (“it’s hard to be at a party when I feel like an open wound”). It is not necessarily the city, but rather a recovery period that does not go well. 

If the painful instruction of “illicit affairs” acts as a foil to 2014’s “How You Get The Girl,” then the anxiety of “peace” complements 2017’s “Delicate.” While “Delicate” expresses the sufferance of an early, undefined relationship (“is it cool that I said all that”), “peace” begs the lover to reconsider the end one last time. As “hoax” makes undoubtedly clear, it wasn’t enough. We see the dangers of outside influence (“I’d sit with you in the trenches”) and the strength of the romance (“the silence that only comes when two people understand each other”). It is a final plea for someone to stay, a list of the success and a fatal acknowledgement of the worst. There is a declaration that sums up much of the album: “all these people think love’s for show / but I would die for you in secret.” As we’ve seen from other songs, it is the secrecy and the hiding that has doomed them. Swift sees this, she briefly suggests a return to the free and safe woods (“give you my wild”) but is ultimately stuck on the question of peace, which she wishes she could give her partner. 

the return (hoax, the lakes) The original album closer, “hoax,” finds Swift leaving a part of herself in the destructive city that has become home. She makes an attempt to return to her home, only to find that it is not the way she’s left it (“my barren land”). With her lover, she has gone through a journey that changed her too much to return to innocence (“I can go anywhere I want, just not home” from “my tears ricochet” contrasted with “you’re not my homeland anymore” from “exile,” where the lover becomes the homeland). She turns to a bleak setting, using sparse lyricism and simple constructs to describe her pain and betrayal. While Lover highlights themes of likening one’s love to a religion, the Swift we see on “hoax” has given up on any sort of healing coming from her romance. All she acknowledges is that the circumstances of her love have “broken her down” and “frozen the ground” (from which she hopes a “red rose” will emerge in “the lakes”). 

In “the lakes,” Swift tries to move forward but still sets her sights on the natural world, citing a deep desire to escape the scrutiny that destroyed her romance completely. This is a call to action for her former lover, a final request for shared freedom that reminds the listener of the lyric “would you run away with me?” from 2017’s “Call It What You Want.” Swift continues to call on aspects of romanticism she’s referenced on reputation and Lover to make her point. It then tracks that she has been inspired by this muse all along, and is finally asking for a return; both to the early romanticism her albums are built on and to her lover’s “homeland.” Her desire for a new home is evident, her conviction that her former lover should join her too great to be overcome.

The response of the muse to this, of course, is unclear. 

[thetypedwriter]

Imaginary Friend Book Review

Imaginary Friend by Stephen Chbosky Book Review 

This is undoubtedly the weirdest book I have ever read. 

You might be thinking… but, thetypedwriter you read fanfiction! This can’t be the weirdest thing you’ve ever read! Things like ABO universes exist!

You would think that, wouldn’t you?

But no. 

I shall endeavor to give you a spoiler free synopsis of the book first followed by my thoughts and criticism, but note that this is an endeavor for a reason. I have now explained this novel in depth to two different people, and both times I have found myself completely and irrevocably stuck on how to even begin, let alone end. 

With that forewarning, here we go. 

The novel surrounds a single mother and her young son moving to a small Pennsylvania town in order to escape the tragedies of their past that include the passing of her husband and her current abusive boyfriend. 

However, while things in their new home start out well-they find solutions to unemployment, poverty, the son’s dyslexia, etc, things start to go awry when Christopher, the son, is lured into the Mission Street Woods at the edge of town by a voice only he seems to be able to hear. 

As Christopher continues to listen to the voice in the form of a cloud, or a plastic bag, or even inside of his mind, he starts recruiting his friends to build a treehouse in the woods that will transport him to a different time and place. The voice, lovingly called the Nice Man, instructs him to finish the tree house by Christmas Day. 

Or else everyone will die. 

As Christopher struggles with newfound powers and responsibilities, coping with two different worlds, his mother struggles with her son’s sanity, the town struggles with anger, blame, and temptation, and what follows is the chaotic descent of a small town into the throes of good versus evil, love and loss, and most importantly, trying to differentiate what is real versus what is imaginary. 

In the simplest terms possible (a facetious statement if there ever was one), I thought this was going to be a thriller mystery book about a single mother and her young seven-year-old son Christopher leaving their home and her abhorrent abusive boyfriend in order to start a new life with hope and potential. 

And it….is? 

But it doesn’t stop there. Chbosky crams so many genres, themes, motifs, and messages into this book that when you think about it, it’s unsurprising that it’s over 700 pages long with the tiniest, most miniscule font I have ever had to squint at. 

However, make no mistakes like I did, this book is horror. 

Yup. You read that right folks, horror. 

To preface, and I might have mentioned this in another post for another book at some point, but I vehemently dislike horror of any kind. This extends to books, movies, shows, etc. 

I understand that horror is a great joy and pleasure for a vast amount of people and that it contains its own literary merit, tropes, and rules, and I can appreciate that for what it is from afar, but I personally take very little enjoyment from consuming anything horror related (I apologize to all the Stephen King fans out there in the world). 

I did not fully realize the extent to which this book was a true horror. 

This is entirely my own fault. I was very much blinded by the rosy colored glasses from college when I first read The Perks of Being a Wallflower, Chbosky’s first and only other novel. 

Perks is wonderful. It is a tragic, yet fundamentally hopeful and loving bildungsroman that shows the beauty and the pain of growing up and accepting yourself. The movie with Emma Watson is what dreams are made of. 

I committed author fraud when I picked up Imaginary Friend based on the pure speculation that I would most likely like it since he had written Perks, a book I adored as both a reader and a teacher. 

I’ve warned readers against this in the past, but it seems like I should have taken my own advice: just because an author has written one good book or one book you like, does not automatically mean you will like their second book, or any of their other books for that matter. 

This cannot possibly ring more true for Stephen Chbosky, as not only are his two books completely different in narrative and structure, but also vastly different in genre and purpose. 

I should have stuck with my gut and realized that I probably wouldn’t like this book based off the synopsis, the genre, and yes, even the cover (it looks scary to me, okay?), but I said noooooo, it’s Chbosky, you have to read it!

And this is where we ended up. 

First of all, I didn’t hate the book. 

I can recognize that it is extremely well written, well crafted, and well developed. I can enjoy a slew of characters, and oh boy are there a multitude to pick from, and I can give credit where credit is due. 

Chbosky is a talented writer. There is no doubt in my mind about this. The way he crafts words, the way he plays with texture and space, and with fonts and sizes, is nothing less of sheer brilliance. 

He undoubtedly is also masterful at motifs, foreshadowing, and symbolism. Notably, there were so many recurring objects, colors, metaphors, and so on that were sprinkled out so consecutively and intentionally throughout the novel-some I didn’t even pick up until the end-that I was left reeling from how immensely talented and brilliant he is. 

Things like his use of baby teeth, blue moon, and fogs/clouds/mist struck me in particular. I know this seems like gibberish, but Chbosky truly came across as understanding what he wanted to portray and how he wanted to deliver it. 

However, the biggest compliment I can give to Chbosky is the sheer magnitude of his imagination and creativity. This book almost overwhelmed me through the use of ideas and concepts I had never really thought of before. 

Alternate dimensions? Check. 

Supernatural powers? Check. 

Incredible use of diction and figurative language? Check and check. 

Chbosky had so many wild and tantalizing beautiful turns of phrases, expressions, and descriptions that it left me with the same sort of gasping epiphany that Maggie Steifvater’s writing always leaves me with, the feelings that writing can be so utterly beautiful and compelling, that it can be all-consuming as well as never ending with its potential to stun, to create, and to warp to unique needs and purposes. 

It definitely was a reading experience quite like any other I’ve had. 

Be that because of the horror genre or because of Chbosky’s odd, yet addicting writing style and this has definitely become a book that left me more than a bit dumbfounded. Although I’ve sung its praises and admitted to my own faults at this point, this book isn’t without flaws. 

To me the horror genre itself is just not my cup of tea like I’ve stated. Strike number one. 

Second, the book was...abysmally long. Atrociously long. As I’ve also said before, I do not mind large books. In fact, big books when you’re reading something you love is a true blessing. Finding that fanfiction at 3am that hooks you immediately and you look up to see its 300k? Amazing. 

Starting a new book series that you fall in love with body and soul and realize you have several installments left in the series to gorge and devour? Ecstasy. 

Sloughing through a single book that starts to drag on and on repetitiously for what seems like forever? Borderline hell. 

This book could have been 300 pages shorter and still contained everything Chbosky wanted to accomplish. It could have had the same brilliant writing, messages, and motifs, but without all of the never-ending back and forth between worlds and battles that just kept popping up time and time again. The abominable length considering its content is strike two. 

Last, the ending was a bit of a cluster. At this point in the novel, so much is going on, you are being exposed to so many pov’s that it’s almost stress-inducing, and events taking place are cataclysmic and 10/10 on drama. Chbosky bit off more than he could chew here. 

The book choked itself at the end, which, after reading for 700 pages is not the feeling you want to have. The ending left me befuddled, disappointed, and also bereft of a conclusive end and explanation for the shitstorm that had just rained down. It was not the ending I wanted, could understand, or could even really grasp. Strike three. 

This book has a plethora of merits followed by three enormous criticisms. If you like horror, then you’ve already crossed hurdle number one. If you can accept it’s repellant length (let alone have days upon days of free time to actually ingest said behemoth) then that’s hurdle number two. 

Hurdle three is up to you. Perhaps you would like the ending where as I found it lacking in structure, content, and answers. I like my endings tied up with neat little bows. I don’t like to be left thinking...hmmmm what does this mean? 

If I am going to read your massive book, I deserve an ending that satisfies the journey. Authors telling readers that it’s up for interpretation makes me want to strangle something. It comes across as enormously pretentious to me and oftentimes lazy. 

In the case of Chbosky, I think he had given himself so many loose threads that the neat little bow I desired was next to impossible. 

So he didn’t even try. 

Score: 6/10

Recommendation: If you love The Shining, are lacking bouts of creativity and imagination, have lots of free time during Quarantine, and don’t mind having an Inception-esque ending where you might not get all the answers you want, while being tasked with concocting it for yourself, Imaginary Friend might be your new best friend. 

Bonus: Here’s a pic of my kitty photo bombing this book shoot. Hope she brightens your day!

[scripttorture]

My question is basically: in the scenario I describe, do you think I should go with or without torture as a referenced thing that happened? The situation is this- my character’s father has been dead for seven years, but I thought that what if, instead of being killed by the monster he was faced with at the time, he was injured by it and then captured by a group of bad guys. This is set in the Legend of Zelda: Breath of the Wild universe and the bad guys in question are the Yiga Clan, (1/9)

who alternate between a comical and threatening presence in the game. They are presented as a tribe of assassins, but the reason why they decide to take my character’s father alive is that they saw him using a rare kind of magic and either want him to teach it to them or want to get him to use it for them. (It’s hereditary so he can’t teach it to anyone but his daughter, but they don’t know that and he will neglect to inform them that anyone else has the same abilities.) (2/9) Most likely they want him to do something with his magic when their idol (Ganon, The Big Bad) returns or possibly something that they think would help him return. Where the question of torture comes in is, I need him to still be alive and capable of going with an escape attempt after seven years. So, whether or not they get the notion to try torturing at any point, it obviously can’t be super regular or prolonged over this period. I thought maybe one or two incidents toward the beginning (3/9) of his captivity, which were ordered to stop when they realized they would have to keep him alive for an undetermined amount of time and that’s easier when you aren’t treating extra injuries, but I’m not sure that would really add anything other than acknowledging the fact that someone in there probably got the notion to go “hey if he won’t teach us that magic what if we punch him and ask again” and may not have been turned down. Or they may have, (4/9) or they may not have brought it up at all because the Leader didn’t ask them to. Alternately, I could lean into their comical side and say that, while they got the idea to try “torturing” they don’t actually know how to do that. They’re assassins, they usually just kill, they don’t really know what to do with prisoners, it’s been a long time since they split off from another group that may have known torture techniques in the service of the now-destroyed kingdom. In which case it would be (5/9) things like “ohoho what if we give him his food... WITHOUT ANY bananas? he’ll be MISERABLE” (they are obsessed with bananas) played for a weird kind of humor. On the other hand I don’t want to imply that if they’d tried “REAL” torture it might have worked. Possibly the punching and asking again was tried once toward the beginning, then the comical “no bananas” one was tried later and neither one accomplished anything? I don’t want to say he spent seven years underground (6/9) surrounded by a comical murderous weirdo cult and “nothing really happened” in that time until his rescue but I don’t want to shoe in something like Actual Torture Attempts when it isn’t necessary. I could fill his time with escape attempts and/or trying to get information. Final thing: his daughter is going to break him out with the help of the Hero and a friend who defected from the Yiga Clan. This friend’s mother is going to take leadership of the clan but is meant to reform somewhat. (7/9) My character (the one whose father is imprisoned) could funnel her anger at his imprisonment towards the previous leader but if she finds out he was tortured (or weird attempts were made at it) she could have more trouble coming to a grudging, still pretty angry acceptance that her friend’s mother exists and is the way she is and probably shouldn’t be magically lit on fire. Or she could compartmentalize and say the friend’s mother never ordered anything like that, or may have even (8/9) turned a blind eye to her father’s final escape. This was a lot of detail but again the main questions are: does that seem like torture attempts would add or detract, and would it be in poor taste to include something like the “no bananas” scene? (9/9)

-

While I’d never played a Zelda game when I got this ask I am now one of Those People who got a switch in response to not being able to go outside. (They had pokemon, I was weak). And I’ve put a lot of hours into Breath of the Wild since. It’s a beautifully realised setting and I can see the appeal of writing something set in that world.

 Humour is a very subjective thing. Whatever we do there are always going to be people that the jokes don’t land for. I’ve (mostly) got positive responses to my humour but I have had incidents both here and on my AO3 page where people took exception to it. And that’s a lot more likely to happen when we’re dealing with serious topics.

 That said, I do think that we need humour about the things that scare us. There’s nothing quite as potent and satisfying as making our fears ridiculous.

 If you’re considering using humour in a torture/kidnap/POW situation (whatever you decide re torture the story definitely contains some of these elements) then the main thing to consider is this: what are we actually laughing at?

 This kind of humour is mostly likely to backfire or be outright hurtful when it can be interpreted as laughing at the victims. Or at the existence of traumatic events. And it’s most likely to work consistently when it’s aimed at the abusers.

 From the way you’ve described this it sounds like the joke is on the Yiga clan. As it is in the game itself. (I have enjoyed the assassination attempts by enraged ‘banana salesmen’.) If you wanted to continue the pattern the game set I think a lot of fellow fans would enjoy this humour.

 But the main question here is about when we should use torture in a story. And how we judge whether it’s adding anything.

 Personally I start by thinking about the tone and themes of the story. The kind of atmosphere I want to capture and kinds of character interactions I want to write.

 Then I try to think through the impact torture would have on the narrative in terms of knock on effects. So, symptoms in victims/survivors, witnesses and torturers but also effects on culture, community and organisations.

 It would probably be easiest for me to break this down with an example or two.

 I’ve talked briefly about both of these stories before. One of them takes place about two decades after a military coup ousted an absolute monarchy. Ilāra, one of the major characters, was embedded in the old regime and tortured people. They were also tortured by the regime and helped make the coup successful.

 And part of the impact torture has on the story is in Ilāra's symptoms. But it’s also in the way other characters relate to them. Normal people are afraid of them or disgusted/enraged at the sight of them. They’re ostracised by their own community and treated with contempt by their military superiors.

 One of the major themes running through the story is the question of how we deal with people we love when they’ve done horrific things. And how countries, cultures, move on from atrocities.

 Most of the major characters aren’t Ilāra's generation, they’re the kids who came afterwards. The people who just about remember the Revolt but grew up in a world without the monarchy. They’re navigating a legacy of blood and bitterness, things that aren’t their fault but nevertheless have shaped the world they live in.

 Part of it is about how the children Ilāra helped raise respond to this personal (and national) history. How they try to square the fact that this person was good (and in some ways defining) for them, while being monstrous to others.

 I felt that torture would add to this story because the point of it is those fault lines. In society at large and in personal relationships. It’s about exploring how we try to bridge or heal those fault lines and how, sometimes, we make them deeper.

 Torture (and indeed the other atrocities that are part of the country’s legacy) serve to raise the stakes. They deepen that initial emotional trench between the characters. And they also… Pull the camera back I suppose? The story may be about a single family but it isn’t an individual story. It’s about how larger patterns of abuse effect everyone in a society. Torture serves to make it about the culture, the country, instead of just the individuals within it.

 There are similar ideas in the other story I’m working on, societal divides and how we bridge them, but I think there’s a slightly different focus.

 Both of these stories are fantasy stories, but while Ilāra's story is in a sort of circa 1900s past Kibwe’s is in the future. It’s extrapolating the political oppression and systems from the places I’m interested in (in this case India, the Philippines, Kenya and Nigeria.)

 The story takes place across generations starting when Kibwe was a teenager but continuing to his daughter’s formative years and into his children becoming independent adults.

 And there’s torture in this story because the entire family is involved in politics. Because I grew up knowing that the natural consequence of acting for major political reform/justice was arrest and torture.

 The story is about trying to change unjust systems and generational violence. It’s also about the unhealthy ways people can engage in activism, putting the theoretical good of the community above their health and their families/friends.

 I didn’t really have to think about including torture in any depth, it was a natural fit. In fact I’m not sure I could talk about politics in any meaningful way without talking about torture.

 So some more specific questions that might help with your story. Is the structure of the Yiga clan important to the story? Is the effect they have on society at large important to the story? Is this primarily an individual/personal story or one with a wider focus?

 There aren’t ‘wrong’ answers to those questions, it’s about what you want to write.

 Do you want a more personal focus with the relationships between the major characters being more important then the world at large? I think of this as a character focused (as opposed to a character driven) story.

 For instance in the Lord of the Rings trilogy while we care about every member of the fellowship the important thing throughout, the focus, is the destruction of the ring and the systems that are harming all of Middle Earth. By contrast in Howl’s Moving Castle we care about the war and the fate of the missing Prince, but the important thing is what happens to the girls from the hat shop.

 Both of these approaches to a story can include torture in a meaningful way. It can add to both kinds of stories. But it’s generally adding different things.

 In a character focused story (with the kind of plot you’re writing) torture is mostly adding a sudden change to all of the relationships a character has. There might be focus on symptoms, a recovery arc, character development etc but the first and most obvious thing it’s adding is a major change to how these characters interact.

 In a story that’s more focused on the big picture of the world torture can add world building elements and it can be used to map out divisions and allegiances in the societies you write.

 Part of the reason I’m making this distinction is that in this scenario you can very easily tell a character focused story with trauma-recovery and not have torture. Kidnap and seven years imprisonment is enough to be traumatising.

 That doesn’t mean torture couldn’t/wouldn’t add anything to that story. But it might not be necessary for the story you want to tell and the focus you want it to have.

 On the other hand if this is primarily a broader story about communities and cultures growing and changing, the decision of whether or not to include torture has much more potential to direct the plot. It could create opposition to reforming the Yiga clan, both inside the clan (wanting to stick with how things are) and outside it (with people wanting it utterly destroyed).

 Different factions and cultures might band together on the basis of shared opposition to the Yiga clan. And the clan’s reformation could effect those allegiances.

 There could also be knock on effects based on where the clan operates: cultures that have been targetted by them in the past might not want this new ‘reformed’ (and more obvious) Yiga clan on their lands. And that in turn could stir up trouble within the clan because hey they’ve been here for generations it’s their home too!

 There are lots of ways torture could add to this plot and these characters. It could also feed in to broader themes.

 For instance the main character and her father haven’t seen each other for seven years. The difference between how we remember or idolise someone and the way they actually are is a theme you could add to here. The Yiga clan is going to end up reformed: what does it take for people to accept that reformation and forgive? The main character is friends with a former Yiga assassin: how do we process the fact people we care about might have hurt others?

 That isn’t an exhaustive list, I’m just throwing out ideas to see if anything interests you.

 In terms of timing and character being physically able to escape I think you’re already hit on a pretty good idea.

 Torturers don’t tend to stop when ordered to. Part of the reason a lot of organisations reject torturers is because they… tend to disobey orders. A lot.

 So if you wanted to write a scenario where this character is initially tortured and then held for a much longer time without torture the realistic way to do that is to have the character transferred from the ‘care’ of one group of Yigas to another. Torturers tend to exist in groups as sub-cultures within larger organisations. Which means that their presence in an organisation does not necessarily indicate that everyone in the organisation supports/carries out torture.

 You could even have the Yiga’s take a (perhaps half-hearted) anti-torture stance and have them punish the torturers.

 Wrapping up, the decision of whether or not to include torture is up to you. I can see ways it could add to your story but the points and themes I’ve spoken about might not be things you’re interested in.

 Just because an element could add to a story doesn’t necessarily mean it’s adding something you want. There’s nothing wrong with deciding that an element doesn’t interest you, takes the story in a direction you like less or causes more stress then you want as you write it.

 Ultimately the question is whether you want to write torture. And there’s no wrong answer to that question.

 I hope that helps. :)

Available on Wordpress.

Disclaimer

[watching-pictures-move]

Put On Your Raincoats #20 | Squalid Motels and Desperate Gals, courtesy of Kim Christy

This review contains mild spoilers.

When I first heard of Kim Christy, I knew I had to delve into her work. Here is someone who was involved in the drag scene in the '60s and went on to direct and produce pornography from the '80s onward. She's also a trans woman director (and occasional actress), which is not just unusual in golden age pornography but even mainstream cinema today. Unfortunately, figuring out where to start was a challenge. There's a very good interview with her on the Advocate but which doesn't really delve into her directing work. So I did the highly risky and ill-advised move of scanning through the titles in her filmography and trying to pick out ones with interesting sounding premises. Even this was a challenge, as a lot of her movies sounded like they didn't have a terrible amount of story. (A good many of them also had certain slurs in the title, which are unfortunately common in trans pornography.) So out of the crapshoot of movies I picked, I can't say I really got to the bottom of what makes her work interesting or even gelled to most of them, but hopefully I can convey what makes the ones I did take to interesting.

To start with the most slight, the two Divine Atrocities movies are basically a collection of sex scenes. There's a theme of dominant women running through them, but otherwise there isn't much tying together in terms of staging, aesthetics and the like. The segments have titles like "The Leather Lass Tamer", "Rubber Rampage" and "Ms. Degradation", but truth be told, nothing here is terribly shocking. So there isn't a lot to either of these movies, but if you're watching it for those reasons, they're enjoyable enough. A few of the segments feature trans performers, and I did find that Sulka had a nicely imposing screen presence in her scene, and while Sugar Nicole briefly threatens her partner with her "big black cock", I did like that for the most part the movies don't discern between these scenes and the ones with cisgender performers. In the eyes of Kim Christy, there's room for everyone in this great sexual melange. Also notable is the threesome scene with Janey Robbins, who (after likely reading Dan Savage's column) tells one of her partners, "If you don't find a different way to fuck me, you can forget it, I'll have to find somebody else", and in the first time in the history of civilization, gets mad at her male partner for not climaxing quickly enough. "You always say it'll only take a few minutes. Time is the only thing I can't replace, and it always takes too long."

A bit more substantive narratively but less interesting is Momma's Boy, with a premise that you can guess based on the title. Tantala Ray presides over a brothel set during an indeterminate period, where she presides over her girls and also her son, who mysteriously became a deaf-mute at a certain point of time. Why did her son become a deaf-mute? Will we ever find out? Spoiler: it's incest. Tantala Ray does have a weird enough screen presence to make her parts watchable, but this has none of the charge that, say, Taboo brings to the same material. (It's worth noting that Ray in this movie, looking like a debauched queen of Mardi Gras in one scene, is a camp villain while Kay Parker plays her role straight in the other movie.) As it's shot on video, the movie is not very nice to look at, and the dirt cheap production values make it unclear whether this is supposed to be a period piece. Some of the dialogue is amusing ("Oxford?" "Guess again." "Princeton?" "Try Biloxi Tech, my sweetie."), and there is some old timey music and one of the clients wears an ascot at one point, so it's not a totally squalid affair. (It's classy, see? He's wearing an ascot.) As the son, Jerry Butler does a cringe-inducing lisp, but I did chuckle at his last line.

A bit easier to recommend is True Crimes of Passion, where Janey Robbins plays a private detective (cheekily named B.J. Fondel) who invariably bungles her investigations and winds up in sex scenes with the people she's supposed to be investigating. "Out of the fog and into the smog" begins the overwrought voiceover, which truth be told doesn't compare to the likes of Chandler but I guess the effort is nice. The first case involves her investigating the wife of a minister whom her client suspects of infidelity. Surprise, surprise, it turns out the wife has a girlfriend with whom she has dominant sex. Thanks to Robbins' investigative prowess, she gets found out and forced to join the proceedings and ends up getting her client, a Dan Quayle looking motherfucker in a cowboy hat, captured as well, which leads to an incredible burn.

"The lord will punish you for this."

"The lord already has, he gave me you for a husband."

Also, when Robbins is forced into cunnilingus, she says over narration, "Oh Christ, I'm not even sure I've seen one of these things up close", and yeah, okay, Janey.

The second scene is probably the most notable as it features Christy as a performer. Robbins visits her friend to investigate a death threat against her friend's brother (also Robbins' ex), and the twist can be deduced when you start wondering why a seemingly minor character gets an unusually large amount of screentime. The scene features a trope that likely isn't terribly sensitive by modern standards, but I get the sense from that Advocate interview that Christy isn't too hung up about such things and one must concede that the film is a product of its time and genre (and within that context, there's a lot worse out there). The last scene has Robbins spying on her neighbour in hotel to get some industry secrets, which leads to some really awkward dialogue about champagne and then a threesome involving her client and mark. Like the work of Yasojiru Ozu, this scene breaks the 180-rule, but I guess if this is your thing, you might enjoy it. At the very end, the mark just gives up his secrets to the client. The secrets of male bonding sometimes elude me.

Easily the most accomplished and enjoyable film from Christy that I watched was Squalor Motel. It combines the sexual variety of the other films with a sense of camp and grounds it in a distinct, memorable location. There isn't much more "plot" than the other movies, as it's basically about a motel concierge doing her job over the course of a day, but as it follows her bumping into a variety of (usually horny) guests and finding herself in amusing (and unfailingly sexual) situations, there's enough of a narrative through line that it feels like a "real" movie where the other movies strained for similar effect, and the movie uses a soundtrack of icy synths and jazz that sounds like imitation Angelo Badalamenti to give it all an alluring vibe. I'm gonna make a wager that David Lynch would have liked this movie. Look, I have no idea what his viewing habits are or what sends his motor running, and the thought of him jacking it furiously to this or any movie is not something that brings me pleasure. But this shares some of the campy tone and surface qualities of his works, and I also wanted to leave you all with that image.

Why does the motel have its own house band (to whom people try to listen to while they engage in all kinds of sexual congress)? Why is Jamie Gillis made up like a vampire and trying to sell marital aids? Why does the one guest's blow-up doll turn into a real person (and prove, uh, extremely vocal during their scene)? Why is the owner wearing a pig mask and a tutu while he spies on his guests? Why is everyone laughing at the newlywed? Why is the one scientist with a Hitler mustache and his shrill-voiced assistant conducting experiments (read: having a threesome) with Tantala Ray? And how are most of these things taking place in the mysterious Reptile Room in the middle of the motel? With an extremely winning Colleen Brennan in the lead role (sporting a pair of thick glasses, a Lucille Ball updo, and a big, toothy smile), we'll have a pretty good time finding out. Like a lot of hardcore movies, this is pretty episodic in structure, but its distinct atmosphere gives it a nice sense of momentum as it drifts from scene to scene.

With its nice production design (and the fact that it seems to have actual sets, rather than being shot in what I assume are people's homes like in the other movies), Squalor Motel feels a bit more upscale and lavish than the average porno. While I don't have any budgetary information handy, I do know that the production had an assistant director, Ned Morehead. To what extent he contributed to the movie's DNA I can't say for certain, but the directorial effort of his I watched, also produced by Christy, had many of the same qualities. Desperate Women starts off feeling pretty stylish with its spraypaint style opening credits (although it loses a bit of style when it misspells star Taija Rae's name as "Taja Rea"). Taija Rae plays a reporter who ends up wrongfully convicted for a murder and thrown in brutal women's prison presided over by the sadistic Tantala Ray, who seems to get her jollies from spying on her prisoners as they get it on or abusing them with the help of her dimwitted guard. During such incidents, the guard frequently ends up ejaculating on her uniform as a source of comic relief. (One such scene ends with a shot of a photo of Ronald Reagan.) I must however disclose, without revealing too much about the shameful inner workings of my hopelessly degenerate mind, that the denouement of scene involving Ray, her guard and Sharon Mitchell did not leave me unmoved. Mitchell plays a prisoner who befriends Taija Rae, and it's worth noting that despite being one of the best actresses in classic porn, she's saddled here with an atrocious Hispanic accent and at one point sings a bit of "America" from West Side Story.

By porn standards, this is actually quite well produced and has a relatively sturdy narrative. (I must however note that one scene has a blatant ejaculation-related continuity error.) Women in prison movies tend to be pretty squalid affairs in general, at least in terms of production values, so this doesn't feel too far off from the real thing and offers more explicit versions of the same pleasures, while its sense of humour gives it a nice campy quality. Tantala Ray especially delivers in a pleasingly over the top performance as the teeth-gnashing villain (the camera often frames her severe face in wide angle close ups), and say what you will about Sharon Mitchell's accent, I did like seeing her pop up in here. With all the flamboyance and excitement around her, Taija Rae almost becomes a supporting character in her own movie, although I must confess that I found her character's hopeless naivety pretty cute. ("I didn't wear rubbers, it's sunny out".) With a fun cast, a firm handle on the genre's pleasures and a groovy soundtrack, this is a pretty good time.

[languagebraindump]

Japanese essay structure 

I already talked about the Japanese writing style in my previous post where I covered some basic features of Japanese writing (you can check it out here). However, it was rather general, and this time I will try to elaborate on the topic a bit more. I also discussed writing and its usefulness in the language learning process. Unfortunately, things get messy when your target language's culture creates a world of differences. 

English essay structure 

It's pretty straightforward.

There is:

An introduction where is state the reason for writing (thesis statement = one idea)

A body where you support the thesis with relevant arguments

A conclusion where you restate the thesis and add your opinion 

It's a rigid and easy-to-remember structure. Such an outline also helps to get the message across in the fastest way. I like using writing exercises to teach speaking (it facilitates logical structuring of thoughts; they often don't know where to start or how to start speaking), new vocabulary, to perpetuate the vocabulary and grammar they've already learned. Such exercises show how learned vocabulary and grammar work in reality as well. Knowing essay structures also helps with reading and listening as each paragraph contains specific information. Instead of frantically looking for information in every paragraph (which takes a lot of time),  you'll go to the ones which most likely contain the information you're looking for (this knowledge may help during exams). 

Japanese essay structure 

Here things get messy. I wanted to use my own teaching method to teach myself vocabulary and grammar; however, I didn't know where to start. I looked into this topic more, and it will take me years to master writing in Japanese. 

Three types of essay structures in Japanese 

In ESL industry, the standard division of essay is a comparative essay, argumentative essay, opinion essay, and narrative essay. In Japanese, though, I couldn't find anything like that. Instead, I found three types of argument structuring that explain how to organize your arguments throughout the essay to arrive at the conclusion which may or may not be stated explicitly (unlike in English). 

The three types are  "ki-shoo-ten-ketsu" model, the so-called "tempura" strategy, and the "return to baseline theme" model.

ki-shoo-ten-ketsu

Ki indicates the introduction; 

shoo indicates the development of the introduction; 

ten indicates the abrupt introduction of a tangentially related subtheme (another idea occurs while in English, one idea prevails throughout the whole essay);

and ketsu indicates the conclusion. 

"Simply put, a paper written according to the ki-shoo-ten-ketsu model would begin with a theme which is introduced in the "ki" phase and developed in the "shoo" phase; in the "ten" phase, though, a subtheme (or subthemes) is introduced, which is then developed throughout the remainder of the essay. This subtheme introduced in the "ten" phase of the essay often represents an "abrupt" intrusion of a second (or even a third) main idea for the paper, the "abruptness" here the result of the lack of a foreshadowing in the introductory paragraph. As a result, the native English reader may be surprised and disoriented at suddenly confronting the new topic." (Ben Mulvey, 1992) 

Tempura strategy

It's said to be an inductive type of argumentation. (Induction means inference of a generalized conclusion from particular instances). There is no thesis statement at the beginning instead, there are examples (on one or several topics) that lead to the author's conclusion. Furthermore, each of the examples presented in the initial paragraphs serves to explain the examples in the paragraphs that follow it. They sort of complete each other (example A [paragraph 1] explains example B [paragraph 2] that explains example C [paragraph 3] and so on…). This specific-evidence-to-general-result-(or conclusion)­ construction presents several problems for English readers attempting to grasp the unity in such essays. Without introductory orienting statements, English readers have difficulty both identifying and anticipating the movement in the essay (Hinds 1990: 91). Such structuring often forces readers to reread the paper with a whole new perspective. It's mostly seen in Japanese newspaper articles. 

Return to baseline theme (extremely rare)

It is said that this structure is the closest to the English essay structuring. Hinds (1987) describes the "return to baseline theme" strategy as one where the essay has both an introduction and a thesis statement, yet where the body of the essay is carried out in an extremely recursive (something keeps repeating) manner. Furthermore, Hinds states that "each paragraph in an essay restates the main theme of the essay before providing a different perspective or development of that theme" (1987: 45).

 Final thoughts

The strategies are writer-friendly formats rather than reader-friendly formats. English papers, on the other hand, focus on the readers. The main aim is to convey information in an easy to understand way. The Japanese, though, shift the responsibility to the readers. They present the arguments and a possible conclusion, but it is up to the readers to decide the aim of the paper. 

When I think about it, it is totally in line with Japanese culture where people don't want to force their opinions on people. 

To conclude, I'll never be able to write in Japanese. At this point, it all seems too abstract. 

References 

https://scholarworks.lib.csusb.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=2052&context=etd-project

https://www.tofugu.com/japanese/japanese-argument-structure/

[rpgsandbox]

Working alongside Skydance Television and the incredible team behind the hit Netflix TV series, we’re excited to immerse you in the neon-drenched cyberpunk sandbox of Altered Carbon with our official tabletop RPG.

In this transhumanist vision of the future, the human mind is nothing more than digital code – Digital Human Freight – saved and stored in a Cortical Stack, advanced technology that allows you to “re-sleeve” your entire consciousness into a new body. You can wear any body you can afford, transmit your mind across the cosmos in an instant, and, if you’ve got the credits and political cachet, you can re-sleeve time and again for centuries, accumulating enough wealth and power over the millennia to become the societal equivalent of an immortal god.

“Reality is so flexible these days, it’s hard to tell who’s disconnected from it and who isn’t. You might even say it’s a pointless distinction.”

Whereas character death is a natural occurrence and ever-present threat in tabletop RPGs, Altered Carbon: The Role Playing Game offers a unique angle on the concept. As opposed to creating a brand new character, players will have the opportunity to transfer their character’s consciousness, memories, and experiences into new Sleeves post-death… but at a cost.

Mind you, immortality is not invincibility. Losing a Sleeve is a life-altering setback, and “Real Death” awaits anyone whose Stack is destroyed. That being said, Sleeves introduce their own refreshing challenges to players and storytellers alike. Augmentations can instantly upgrade your athleticism, but a world-class surgeon in an unadjusted Sleeve can botch a basic procedure. The possibilities for characters and campaigns may change from one Sleeve to the next… making long-term gameplay more versatile, while empowering the story to steer character advancement at its own pace.

Bay City is divided into three major territories – the Ground, the Twilight, and the Aerium – each a world of its own; ruled by different kinds of people, playing games for different kinds of stakes.

The Ground: The underclass — known as “grounders” due to their inability to inhabit the skyscrapers as residents or personnel — continues to soar in numbers. Grounders are satiated with automated dispensed foodstuffs, public housing, and a neon-soaked parade of carnal pleasures. On paper, the features of the city seem almost Utopian, but the majority serves only as cheap labor for the vast bureaucracies of the Protectorate and the Meths whose own lives are glittering paradises in comparison to the empty, endless grind of the greater population.

The Twilight: A razor thin middle class serves as administration, managers, and highly skilled technicians to service the various technological marvels of society and its endlessly expansive bureaucracies. These skilled individuals are said to inhabit The Twilight, somewhere between the darkness of grounder society and the dazzling brightness of the high life of meth aristocracy. Most aren’t far removed from some criminal element, either by choice, close relation, or the occasional contractor through one of their shell corporations. You’ll scarcely find a programmer who hasn’t moonlighted as a “Dipper” at some point. Most dabble with decadence or crime (often the white-collar variety), if only to search for some form of existential purpose... The extra money doesn’t hurt either.

The Aerium: This network of skyscrapers is the domain of the meths exclusively. Their towers pierce the sky by several times in height the normal skyscrapers of Bay City. Each tower has the luxury of supporting a multitude of sprawling estates, all free and far above the need to see the rabble below, the unseen underclasses toiling under permanent cloud cover. Only specifically registered air vehicles and police aircars are permitted to fly anywhere near this complex. The much vaunted Suntouch House is part of this complex.

The core edition of Altered Carbon: The Role Playing Game takes place on Sol (Earth) in the year 2384. With the help of a gamemaster (GM), you and your friends can create your own stories and Sleeves in Bay City, the futuristic Californian metropolis that serves as the main setting of the first book and Season 1 of the Netflix series.

The human eye is a wonderful device. With a little effort, it can fail to see even the most glaring injustice.

Take control of police, military, technicians, artificial intelligence (A.I.), special operatives (CTAC), and even the influential elite of high society (Meths) as the core neo-noir themes of Altered Carbon promise endless sci-fi adventures:

Mystery — Solve the unfolding mystery. The gamemaster themselves may not even know who the culprit is at the beginning of the story!

Intrigue — Augments and re-sleeving don’t come without their own costs. Story-driven mechanics challenge players to balance their personal egos and baggage, influencing how players interact with one another and how their characters develop over time.

Action — An original game engine uniquely designed for the RPG, delivering a strategic yet dynamic zone-based combat system with exotic high-tech weaponry and streamlined options for more action-oriented gameplay!

Drama — The twisted reality of transhumanity enables players to create challenging stories, complex characters, and century-spanning epics, all which explore the darkest aspects of human nature that the value of life and fear of death once held in check. When murder is little more than extreme property damage, transhumanity is the perfect playground for noir storytelling that delves into the moral depths of our own humanity.

Working in tandem with Skydance Entertainment, we're able to provide a deeper dive into the world of Altered Carbon. As a result, we're expanding on elements of lore, and the colonized worlds that previously we unexplored until now!

https://drive.google.com/open?id=1Tee2_LgSiUPM4arGX6-IE5pIpre7Q0LF

                                     Click for a clean Character Sheet

The Core Rulebook contains everything gamemasters and players needs to play the game.

Building a Neo-Noir Narrative. Build an authentic noir experience with a multi-layered mystery that unravels over time. Plot twists, MacGuffins, red herrings, and informants all provide the ever-adjusting structure you need to bring mystery and intrigue to your players without the need to pre-plan every detail at the start.

Starting Adventures. Enjoy two complementary modules designed to teach you everything you need to know to run the game and teach players the Hazard System.

Creating a Character. Ready to jack in? Pick an archetype: Civilian, Socialite, Official, Criminal, Technician, or Soldier. Generate core attributes like Strength, Perception, Empathy, Willpower, Acuity, and Intelligence. Game elements like Stack Points, Health Points, Ego Points, and Influence Points help flesh out your characters and determine how they perform and progress through the story.

Baggage. Your time in Altered Carbon takes its toll, as damage to your ego builds up over the years… as do the ghosts of your past deeds from sleeve to sleeve.

Variant Characters. Explore a range of unique playable and non-playable characters such as artificial intelligence beings, envoy soldiers, and high-class meths.

Re-sleeving. The body is merely a shell, and death is not the final destination. Each Sleeve comes with its own strengths and shortcomings. An impossible task in one Sleeve may be child’s play in another. Meanwhile, your enemy could be wearing your friend’s sleeve, so use your intuition and ingenuity to observe the details, break through the obvious, seek out new solutions, and stay alive.

Tons of Traits. Tier-based Trait system allows you to easily build your own Archetypes or assign a set of unique abilities that complement one of our pre-set character builds, with plenty of crossover options so that no two Archetypes are really the same.

Wealth Level Based Economy. Rather than nickel & dime every transaction, players can acquire gear and supplies adjacent (or above — if they’re willing to risk greater consequences) to their Wealth Level in order to keep the focus on story momentum.

Technology & Equipment. Nemex, Shard Pistols, Portable AI Emitters, ONI Interfaces, Merge9; the Core Rulebook provides all the mechanics for purchasing, acquiring, and modifying a plethora of futuristic weapons, apparel, and gadgetry with an expansive list of customizations for nearly every item.

Expanding the Altered Carbon World. While the Core Rulebook focuses on Bay City and Season 1 of the series, we’ve got big plans with Skydance who is currently in production for Season 2, and we'll be working alongside them to discover more ways to explore the colonized worlds in future RPG supplements. In the meantime, fans can explore Osaka and other parts of Earth 2384 via our stretch goal modules listed below.

Altered Carbon: The Role Playing Game will employ the Hazard System – a brand new game system that finds inspiration in popular engines like the Cortex System, Savage Worlds, and Outbreak: Undead.. all while delivering unique gameplay specifically designed for this RPG.

SKILL DICE: Actions are done using an appropriate die type depending on your level of skill.

Which are rolled against a Target Result (TR) assigned by the GM or Scenario:

12+ - Trivial

10-11 - Easy

9-10 - Normal

7-8 - Tricky

5-6 - Challenging

3-4 - Complicated

0-2 - Nearly Impossible

With success determined by rolling EQUAL TO OR UNDER the Target Result. The difference between the result and the TR are the degrees of success/failure generated.

Natural (rolled) 1's are considered an “Ace” - and always succeed with a flourish.

Besides the basics of rolling equal to or under the Target Result, the Hazard System provides a list of easy-to-apply modifiers that will help to quickly and contextually flush out a scene.

Bonus Dice: Players can be awarded Bonus Dice, which can be of any Die Type. Bonus Die results can take the best results (serves as an advantage).

Luck Dice: When luck plays a factor on the outcome (for better or worse), Luck Dice of any Die Type may add to Skill Check Results. Even players with D4s as Skills may fail if luck turns against them. Luck can even displace Difficulty altogether in the right situation.

Example:

Christopher is trying going toe to toe with an off-world assassin in a synthetic Sleeve but decides the fight is a little outside of his league — so he wants to escape. He could simply dart away, in which the GM will ask him for an Athletics - 5 (challenging) roll. He has a D10 in athletics so its reasonable. Or he could use a chaff bomb, which will disrupt the synthetics sensors and maybe cover his tracks. That just requires a Throw - 10 (easy), and even with a D12 that shouldn't be a problem... shouldn't...

Since all dice can roll low, there is ALWAYS a chance of success.

=========================================================

Kickstarter campaign ends: Wed, March 4 2020 6:03 AM UTC +00:00

Website: [Hunters Books] [facebook] [twitter]

[holydragon2808]

The Last of Us Part II: Abby and Plot Review (Sometimes, The Straightforward Approach Really is the Best Way to Execute a Story) MASSIVE SPOILERS FOR BOTH GAMES!

Yo, fellow gamers and geeks alike! How goes it? Don’t mind me. Just the dragon coming out of her den to rant/review within the realm of geek culture yet again. Since the beginning of The Last of Us Part II’s release, there have been some pretty strong opinions on the plot of the game (to put it lightly….).

I’m still in the middle of completing the game myself, but I’ve pretty much been spoiled the entire story anyway, enough to express my opinion about certain aspects of the game, particularly my feelings on the odd narrative framing choice for what (IMO) should have been a fairly straight forward executed plot line. I was going to wait until I’ve completed the game for myself, but time just doesn’t allow for a lot of gameplay for me at the moment, so I’m writing this review fairly prematurely (though I have watched everything on youtube). I’ll probably post a part II of this review after I finish the story for myself if anything changes.

Anyway, based on what I’ve personally seen and heard (both from personal gameplay and online), my main opinion (so far) is that the ideas, the themes, and the concept behind TLoU II’s story itself are overall decent to me.

However, the way Neil Druckmann and the rest of Naughty Dog chose to frame the narrative is decidedly not.

And a large part of it IMO is how they chose to implement this new character named Abby in the story. Not to mention the over reliance on shock value, and trying too hard to illicit certain emotions and reactions from the player, rather than just trusting the content to steer the narrative and giving the player space to have their own personal experience with the story, something the first game understood and did very well.

Needless to say, there will be MASSIVE SPOILERS for both TLoU I and TLoU II plots from this point onwards. Last chance to back out the den now!

To try and make my point, the original game did a wonderful job of establishing its dark premise, its major characters and getting the player emotionally invested in wanting to know more about both from the outset with a good prologue set up, taking place 20 years before the main time period of the story proper.

During the prologue of the first TLoU, we (as the player) are introduced to (main character) Joel and his cute, young, (but sadly ill-fated) daughter Sarah shortly before the outbreak of the Cordyceps plague. The player gets the opportunity to see Joel at probably his “(moral) best” in the game prior to everything going to hell (and even then the game still establishes the darker parts of his overprotectiveness rather well).

We see him depicted as a very loving and protective father, hardworking, and just generally and average everyday guy (neither “good” or “bad” just “normal”) trying to make a living in the world as he’s talking to his brother (Tommy) on the phone trying to secure a business deal. And then the world begins falling apart at the seams with the trio forced to flee from their now infected neighborhood, doing whatever it takes to get out alive (even if it means now they have to kill other people, something neither probably would have fathom doing prior to the outbreak), setting up a very miserable, but soon to be familiar pattern for them and any other people determined to survive in this devastated world.

Unfortunately, just as they make their way out of the area, Sarah is fatally shot by a soldier tasked with killing any stragglers in an attempt to contain the chaos. And all Joel can do is watch the light leave his “baby girl’s” eyes….

During this short, but very meaningful first hour or so of the game, we have Joel’s dynamic with his biological daughter established (a very fun-loving and healthy and overall heartwarming bond between them), the overall sibling yin-yang world perspectives between Tommy and Joel (how the former is more idealistic and more willing to help others even amidst a crisis, while the latter is cynical, lives more in the moment, and primarily focused on the survival of himself and his closest family) and how those respective character traits subtly foreshadow several major events to come between Tommy and Joel, how and why they eventually drifted apart from one another over the years, as well as the latter’s final choice regarding Ellie and the Fireflies in the finale.

Also by this point, we as the player are invested in these characters from the jump, and have a good idea of what’s going on in the larger scheme of the story (and the direction it’s going….pretty bleak but engaging), and what’s to come so that by the time we’re at the end of the prologue and Joel is getting emotionally shattered by the death of his only daughter, we as the player are right there with him. It was clear that Naughty Dog wanted to make the player sad and emotionally invested in the moment.

The difference in the first game from the second is that the creators seemed more willing to trust their own content to carry and convey the emotional weight of the story and the scene. Shock value is still very much there in the prologue (Sarah’s death was somehow expected and out of nowhere at the same time and it worked because it was just heartbreaking to see such an innocent and nice girl gunned down in her youth), but it’s not the sole driving factor behind the scene itself. Then we jump 20 years into the present day, the world is a very different place and Joel is a very different person.

He’s not the most likable, moral, or friendliest old dude around, but his brutality, his cruelty, his bitter resentment towards humanity over the course of the game is very understandable and the player has been given the time to understand the deeper nuances of his character and establish a bond with him and understand his later feelings and actions regarding Ellie and the Fireflies at the end of the game. His actions certainly weren’t “right” but they were definitely human and understandable.

Well, certainly a lot more understandable/human than it would have been had the game opened with Joel dooming all of humanity from a cure by killing all the doctors with no other context and then trying to force us to empathize with him after the fact.

That’s the problem with Abby’s implementation at the core of the second game’s story, and sadly, it’s enough to mar nearly the entire experience. When Abby first appears, we as the player know nothing about her (and I mean nothing. We don’t even get her name until at least an hour or so after controlling her. That’s not the best introduction for a soon to be major character….).

We get nothing about her, then she kills Joel from the jump (about barely 3 hours into the game), and puts Ellie on a warpath and all of it goes down from there. By this point, we still know nothing about Abby (but hey, at least we as the player get a name before she bashes Joel’s brains in with a golf club). And not only do we not know anything about her, but Naughty Dog didn’t realize that this framing choice effectively prevented the player from wanting to know or care about her as a character.

At this point, later forcing the player to later control her and empathize with her for 10-12 hours is out of the question. She should have remained squarely in the villain role (from Ellie’s point of view). The shock value of Joel’s murder is there as they wanted (whether good or bad is up to the player), but without knowing anything about Abby beforehand, all it really does is completely alienate Abby from the player before we could have gotten a chance to know anything about her, or even want to know anything about her. That’s what I meant earlier about TLoU II not giving the player space to understand and relate/connect to/with the newly introduced characters, to have the scenes and the content convey the emotional intent without the need of these unnecessary forced framing choices and over the top shock value instances.

Seriously, how hard would it have been to let the player know from the outset that Abby was associated with the Fireflies, and that her father was the lead surgeon that Joel killed to rescue Ellie five years ago? From what I understand, it’s several hours into the game before this information comes to light.

The game makes the mistake of introducing Abby in such a way that the narrative (almost to an absurd degree) assumes that the player is already invested in her. We’re not. We’ve literally just met her. And we as the player are given no room to get emotionally invested in her as a character, and when the game finally realizes that “oh, without some context on this matter, no one will care about Abby” (roughly 12 or so hours after the fact from what I’m understanding) it feels like it’s too little too late. 

We as the player never received the opportunity to understand who she is, who she’s after, what her deal is, nothing prior to the controversial murder scene (it all happens after the fact, but by then, people are typically closed off from truly caring or able to change their minds about her so the whole 10 run feels more like a slog narratively rather than a deep, engaging “walk a mile in this person’s shoes” thing. 

We’re just forced to continuously bounce back and forth between controlling her and Ellie throughout the game from the beginning. That’s honestly not the best story structure….ND....you can’t shove Abby down our throats later and expect us to truly care about her. That’s not how it works. And even the whole “well, we wanted the player to hate Abby” thing falls apart because the later scenes where we’re forced to control her feel very unnatural and are often trying too hard to FORCE the player to empathize with her rather than just again, trusting the content to allow us that (again, give the player some space to experience the narrative, build things/people up better, stop relying on shock value without the adequate suspense) for ourselves in a more natural way like with the characters and the way they were presented in the first game.

And Why? Because Naughty Dog was so focused on trying far too hard to illicit certain reactions/emotions from the player. Yes, the overall framing of Joel’s untimely murder at Abby’s hand is bold and (to a point) brilliant in getting us to feel exactly (and I do mean EXACTLY) what Ellie feels in that moment because she doesn’t know any more about this Abby chick than we do. That definitely works for getting us to feel something for Ellie and truly understanding her pain and sorrow in the moment, however, in the larger scheme of the narrative, it was unnecessary. We’re ALREADY just as emotionally invested in Ellie as a character by this point as we are Joel. They are both returning characters.

If they knew that they were going to have Abby (an entirely newly introduced character) kill off one of their major (returning) characters in the first few hours of the game, and ESPECIALLY if we were going to be forced to control her later, then all of their efforts should have been made into making Abby as emotionally understood as possible from the very beginning. This easily could have been rectified with a montage, or a playable prologue or something explaining exactly who she is and her friends were. THEN have her kill Joel somewhere in the middle of the game (while having her conflicted over doing so in part because he saved her life multiple times). People would have still hated her as you wanted ND, but her story is much more understandable and less convoluted and infuriating for the player to experience (and not in the genius way that you think, but just in the “bad story structured way”). The canon structure of Part II might have worked for a novel, or a movie or TV show or something. 

This is a story driven VIDEO GAME. Players directly experience the narrative, not just read or watch it. It has to work in a way that doesn’t feel like an outright HATE message directed to the player themselves. There’s a difference in “exploring the themes of hatred and revenge” in a game, and “deliberately creating something that people are going to despise” (something Druckmann said. He literally said that he’d rather people passionately hate the game rather than just saying “eh, it was ok”). 

To me, I think it would have been more conducive to focus their efforts on creating an experience that people would ultimately LOVE TO PLAY AS A GAME, as Naughty Dog explored the themes of hatred/revenge solely within the realm of the game’s content, rather than this borderline preachy way they presented this current flop of a story. Just IMO.

It’s sad too, because it would have been a great opportunity for Naughty Dog to fill in some of the gaps in the first game regarding the Fireflies, getting more of major key moments from the Fireflies’ point of view (since their movement was largely in the background of the first game, but still prominent enough) and she could have served as an interesting foil or something to both Ellie and Joel.

Abby is a character who lost her father at the hands of Joel, while Ellie never knew hers and found a father figure in the very man who took Abby’s father away from her. Joel in the first game was depicted as a man who had largely given up on humanity after everything that happened to him, more than likely didn’t believe humanity deserved a cure, or at least damn sure that to him it wasn’t worth losing Ellie over, and killed a lot of the Fireflies to rescue her.

Abby had a direct connection with the group, her father probably a hero in her eyes for still wanting to do the right thing and help humanity (what was left of it anyway) and was brutally murdered by someone who, by all accounts was nothing but a thuggish criminal and smuggler from her point of view.

All of those things could have been compelling and made Abby more understandable and relatable from the start. Would her killing Joel in such a brutal fashion so early in the game still have been bad? Absolutely. However, to me, the difference in knowing who she is and what her deal is before hand would have at least given the player the space to decide how much so for themselves. The overall framing choice of the narrative made this story more convoluted than it needed to be unfortunately. I get what Druckmann was going for overall, but the over reliance on shock value and screwing around with the player’s emotions in this game ultimately came at the cost of good story structure in the process. Sometimes, the straightforward approach is the best way to execute a story….

Well, that’s it for part one of my review. What do you all think? Agree? Disagree? Let me know what your thoughts are on the matter. But for now, I will return to my Den. Thanks for reading! If you liked this review, then stay tuned for my follow up after I complete the game.

Edit: Part II of my review is up! If you liked this, and want to read about how I would have personally structured this story, here’s the link to that!

[dillydedalus]

january reading

why does january always feel like it’s 3 months long. anyway here’s what i read in january, feat. poison experts with ocd, ants in your brain, old bolsheviks getting purged, and mountweazels. 

city of lies, sam hawke (poison wars #1) this is a perfectly nice fantasy novel about jovan, who serves as essentially a secret guard against poisoning for his city state’s heir and is forced to step up when his uncle (also a secret poison guard) and the ruler are both killed by an unknown poison AND also the city is suddenly under a very creepy siege (are these events related? who knows!) this is all very fine & entertaining & there are some fun ideas, but also... the main character has ocd and SAME HAT SAME HAT. also like the idea of having a very important, secret and potentially fatal job that requires you to painstakingly test everything the ruler/heir is consuming WHILE HAVING OCD is like... such a deliciously sadistic concept. amazing. 3/5

my heart hemmed in, marie ndiaye (translated from french by jordan stump) a strange horror-ish tale in which two married teachers, bastions of upper-middle-class respectability and taste, suddenly find themselves utterly despised by everyone around them, escalating until the husband is seriously injured. through several very unexpected twists, it becomes clear that the couple’s own contempt for anyone not fitting into their world and especially nadia’s hostility and shame about her (implied to be northern african) ancestry is the reason for their pariah status. disturbing, surprising, FUCKED UP IF TRUE (looking back, i no longer really know what i mean by that). 4/5

xenogenesis trilogy (dawn/adulthood rites/imago), octavia e. butler octavia butler is incapable of writing anything uninteresting and while i don’t always completely vibe with her stuff, it’s always fascinating & thought-provoking. this series combines some of her favourite topics (genetic manipulation, alien/human reproduction, what is humanity) into a tale of an alien species, the oankali, saving some human survivors from the apocalypse and beginning a gene-trading project with them, integrating them into their reproductive system and creating mixed/’construct’ generations with traits from both species. and like, to me, this was uncomfortably into the biology = destiny thing & didn’t really question the oankali assertion that humans were genetically doomed to hierarchical behaviour & aggression (& also weirdly straight for a book about an alien species with 3 genders that engages in 5-partner-reproduction with humans), so that angle fell flat for me for the most part, altho i suppose i do agree that embracing change, even change that comes at a cost, is better than clinging to an unsustainable (& potentially destructive) purity. where i think the series is most interesting is in its exploration of consent and in how far consent is possible in extremely one-sided power dynamics (curiously, while the oankali condemn and seem to lack the human drive for hierarchy, they find it very easy to abuse their position of power & violate boundaries & never question the morality of this. in this, the first book, focusing on a human survivor first encountering the oankali and learning of their project, is the most interesting, as lilith as a human most explicitly struggles with her position - would her consent be meaningful? can she even consent when there is a kind of biochemical dependence between humans and their alien mates? the other two books, told from the perspectives of lilith’s constructed/mixed children, continue discussing themes of consent, autonomy and power dynamics, but i found them less interesting the further they moved from human perspectives. on the whole: 2.5/5

love & other thought experiments, sophie ward man, we love a pierre menard reference. anyway. this is a novel in stories, each based (loosely) on a thought experiment, about (loosely) a lesbian couple and their son arthur, illness and grief, parenthood, love, consciousness and perception, alternative universes, and having an ant in your brain. it is thoroughly delightful & clever, but goes for warmth and humanity (or ant-ity) over intellectual games (surprising given that it is all about thought experiments - but while they are a nice structuring device i don’t think they add all that much). i haven’t entirely worked out my feelings about the ending and it’s hard to discuss anyway given the twists and turns this takes, but it's a whole lot of fun. 4/5

a general theory of oblivion, josé eduardo agualusa (tr. from portuguese by daniel hahn) interesting little novel(la) set in angola during and after the struggle for independence, in which a portuguese woman, ludo, with extreme agoraphobia walls herself into her apartment to avoid the violence and chaos (but also just... bc she has agoraphobia) with a involving a bunch of much more active characters and how they are connected to her to various degrees. i didn’t like the sideplot quite as much as ludo’s isolation in her walled-in flat with her dog, catching pigeons on the balcony and writing on the walls. 3/5

cassandra at the wedding, dorothy baker phd student cassandra returns home attend (sabotage) her twin sister judith’s wedding to a young doctor whose name she refuses to remember, believing that her sister secretly wants out. cass is a mess, and as a shift to judith’s perspective reveals, definitely wrong about what judith wants and maybe a little delusional, but also a ridiculously compelling narrator, the brilliant but troubled contrast to judith’s safer conventionality. on the whole, cassandra’s narrative voice is the strongest feature of a book i otherwise found a bit slow & a bit heavy on the quirky family. fav line is when cass, post-character-development, plans to “take a quick look at [her] dumb thesis and see if it might lead to something less smooth and more revolting, or at least satisfying more than the requirements of the University”. 3/5

the office of historical corrections, danielle evans a very solid collection of realist short stories (+ the titular novella), mainly dealing with racism, (black) womanhood, relationships between women, and anticolonial/antiracist historiography. while i thought all the stories were well-done and none stood out as weak or an unnecessary inclusion, there also weren’t any that really stood out to me. 3/5

sonnenfinsternis, arthur koestler (english title: darkness at noon) (audio) you know what’s cool about this book? when i added it to my goodreads tbr in 2012, i would have had to read it in translation as the german original was lost during koestler’s escape from the nazis, but since then, the original has been rediscovered and republished. yet another proof that leaving books on your tbr for ages is a good thing actually. anyway. this is a story about the stalinist purges, told thru old bolshevik rubashov, who, after serving the Party loyally for years & doing his fair share of selling people out for the Party, is arrested for ~oppositional activities. in jail and during his interrogations, rubashov reflects on the course the Party has taken and his own part (and guilt) in that, and the way totalitarianism has eaten up and poisoned even the most commendable ideals the Party once held (and still holds?), the course of history and at what point the end no longer justifies the means. it’s brilliant, rubashov is brilliant and despicable, i’m very happy it was rediscovered. 5/5

heads of the colored people, nafissa thompson-spires another really solid short story collection, also focused on the experiences of black people in america (particularly the black upper-middle class), black womanhood and black relationships, altho with a somewhat more satirical tone than danielle evans’s collection. standouts for me were the story in letters between the mothers of the only black girls at a private school, a story about a family of fruitarians, and a story about a girl who fetishises her disabled boyfriend(s). 3.5/5

pedro páramo, juan rulfo (gernan transl. by dagmar ploetz) mexican classic about a rich and abusive landowner (the titular pedro paramo) and the ghost town he leaves behind - quite literally, as, when his son tries to find his father, the town is full of people, quite ready to talk shit about pedro, but they are all dead. it’s an interesting setting with occasionally vivid writing, but the skips in time and character were kind of confusing and i lost my place a lot. i’d be interested in reading rulfo’s other major work, el llano en llamas. 2.5/5

verse für zeitgenossen, mascha kaléko short collection of the poems kaléko, a jewish german poet, wrote while in exile in the united states in the 30-40s, as well as some poems written after the end of ww2. kaléko’s voice is witty, but at turns also melancholy or satirical. as expected i preferred the pieces that directly addressed the experience of exile (”sozusagen ein mailied” is one of my favourite exillyrik pieces). 3/5

the harpy, megan hunter yeah this was boooooooring. the cover is really cool & the premise sounded intriguing (women gets cheated on, makes deal with husband that she is allowed to hurt him three times in revenge, women is also obsessed with harpies: female revenge & female monsters is my jam) but it’s literally so dull & trying so hard to be deep. 1.5/5

the liar’s dictionary, eley williams this is such a delightful book, from the design (those marbled endpapers? yes) to the preface (all about what a dictionary is/could be), to the chapter headings (A-Z words, mostly relating to lies, dishonesty, etc in some way or another, containing at least one fictitious entry), to the dual plots (intern at new edition of a dictionary in contemporary england checking the incomplete old dictionary for mountweazels vs 1899 london with the guy putting the mountweazels in), to williams’s clear joy about words and playing with them. there were so many lines that made me think about how to translate them, which is always a fun exercise. 3.5/5

catherine the great & the small, olja knežević (tr. from montenegrin by ellen elias-bursać, paula gordon) coming-of-age-ish novel about katarina from montenegro, who grows up in  titograd/podgorica and belgrad in the 70s/80s, eventually moving to london as an adult. to be honest while there are some interesting aspects in how this portrays yugoslavia and conflicts between the different parts of yugoslavia, i mostly found this a pretty sloggy slog of misery without much to emotionally connect to, which is sad bc i was p excited for it :(. 2/5

the decameron project: 29 new stories from the pandemic, anthology a collection of short stories written during covid lockdown (and mostly about covid/lockdown in some way). they got a bunch of cool authors, including margaret atwood, edwidge danticat, rachel kushner ... it’s an interesting project and the stories are mostly pretty good, but there wasn’t one that really stood out to me as amazing. i also kinda wish more of the stories had diverged more from covid/lockdown thematically bc it got a lil repetitive tbh. 2/5

[stoweboyd]

Building A Zettelkasten In Typora

I stumbled across a reference to a note-taking system I had not heard of: zettelkasten.

In Zettelkasten — How One German Scholar Was So Freakishly Productive | David Clear writes about the notes box (zettelkasten) note system of Niklas Luhmann.

The Zettelkasten principles

A Zettelkasten is a phenomenal tool for storing and organizing your knowledge, extending your memory, generating new connections between ideas, and increasing your writing output. However, to make the most of a Zettelkasten, you should follow some key principles.

1 | The principle of atomicity: The term was coined by Christian Tietze. It means that each note should contain one idea and one idea only. This makes it possible to link ideas with a laser focus.

2 | The principle of autonomy: Each note should be autonomous, meaning it should be self-contained and comprehensible on its own. This allows notes to be moved, processed, separated, and concatenated independently of its neighbors. It also ensures that notes remain useful even if the original source of information disappears.

3 | Always link your notes: Whenever you add a note, make sure to link it to already existing notes. Avoid notes that are disconnected from other notes. As Luhmann himself put it, “each note is just an element that derives its quality from the network of links in the system. A note that is not connected to the network will be lost, will be forgotten by the Zettelkasten” (original in German).

4 | Explain why you’re linking notes: Whenever you are connecting two notes by a link, make sure to briefly explain why you are linking them. Otherwise, years down the road when you revisit your notes, you may have no idea why you connected them.

5 | Use your own words: Don’t copy and paste. If you come across an interesting idea and want to add it to your Zettelkasten, you must express that idea with your own words, in a way that you’ll be sure to understand years later. Don’t turn your Zettelkasten into a dump of copy-and-pasted information.

5 | Keep references: Always add references to your notes so that you know where you got an idea from. This prevents plagiarism and makes it easy for you to revisit the original source later on.

6 | Add your own thoughts to the Zettelkasten: If you have thoughts of your own, add them to the Zettelkasten as notes while keeping in mind the principle of atomicity, autonomy, and the need for linking.

7 | Don’t worry about structure: Don’t worry about putting notes in neat folders or into unique preconceived categories. As Schmidt put it, in a Zettelkasten “there are no privileged positions” and “there is no top and no bottom.” The organization develops organically.

8 | Add connection notes: As you begin to see connections among seemingly random notes, create connection notes, that is, specific notes whose purpose is to link together other notes and explain their relationship.

9 | Add outline notes: As ideas begin to coalesce into themes, create outline notes. An outline note is a note that simply contains a sequence of links to other notes, putting those other notes into a particular order to create a story, narrative, or argument.

10 | Never delete: Don’t delete old notes. Instead, link to new notes that explain what’s wrong with the old ones. In that way, your Zettelkasten will reflect how your thinking has evolved over time, which will prevent hindsight bias. Moreover, if you don’t delete, you might revisit old ideas that may turn out to be correct after all.

11 | Add notes without fear: You can never have too much information in your Zettelkasten. At worst, you’ll add notes that won’t be of immediate use. But adding more notes will never break your Zettelkasten or interfere with its proper operation. Remember, Luhmann had 90,000 notes in his Zettelkasten!

Clear goes on to show how he has implemented a digital note box (that what zettelcasten means in German) in markdown-formatted text files, like this:

# 201912161352 Zettelkasten is amazing

#notetaking #writing #productivity

The Zettelkasten notetaking system is the best notetaking system ever.

## Links

- [[201912070830-Zettelkasten-principles]] - [[201912080935-Niklas-Luhmann-short-biography]]

From the top: a title, a series of tags, the actual content which is a single sentence in this example, and a list of links to related notes.

The double-bracket notation is a feature for cross-file linking supported by 1Writer for iPad. The rest is plain vanilla markdown.

Dropbox Paper Fail

I tried to build a note box in Dropbox Paper, but tags don’t work as they should. Dropbox Paper supposedly supports tags, but the search functionality simply ignores the special characters. So a search on ‘#platform-capitalism’ finds all files that have either ‘platform’ or ‘capitalism’ in the contents. Not good.

I haven’t been using tags in Paper, and now I know why. They don’t work as they should.

Typora to the Rescue

But my favorite markdown tool — Typora — works pretty well for zettelkasten. Typora starts as a great markdown editor so that covers the note side of things.

Tags are not a core aspect of markdown, and not an extension built into Typora. However, the two sides of tags – marking and finding – can be pulled off.

I use markdown footnote, supported by Typora, to represent tags. For example, see this:

Each tag is formatted like this

[^#tag]: [optional text description]

Here’s the text of the file:

I opted to use footnote formatting in order to avoid Typora treating the ‘#’ as an indicator of a heading, at first. But it also means I can tag sentences in the contents with the tags, as in this example with ‘#auction’ in the second paragraph.

Typora’s search for ‘#auction’ leads to this:

Both the footnote indicator in the text and the footnote definition in the document footer are found and highlighted. Clicking on each opens the document and centers on the location where the tag is located. This works really well.

Creating links to other documents should build on search, but there’s a little snag. Searching for ‘platform-capitalism’ brings up the two docs that have that in their contents. With Typora I can simply drag a file reference from the file list into the Links section of a document, and it creates a link to that document.However, this can’t be done with files in the search results! So I have to search, then remember the files, and pull them from the file list in the folder view.  [It would be helpful if I could drag a file reference from the search results: I have suggested that to the Typora folks, and we’ll see.]

The Bottom Line

Typora can support creating a zettelcasten in markdown, clearly.

But this presents me with a larger question. I have been managing my daybook journal as a chronological series of files, one for each day, in which I paste all sorts of information related to each day: things I’ve read, things to do, things I’ve done. Perhaps I can continue with both techniques? A journal for one and a notes box for the other?

I’ve already learned that I can’t effectively search through my Dropbox Paper journal – at least until they fix the search functionality – so I will revert to journaling in Typora, since I need to remember things, not just capture them. I guess my zettelcasten and my journal coalesce into one giant folder, neatly time-stamped.

[gnosticgnoob]

Variations on a Theme: "The Weird vs The Quantifiable" -- Aggregated Commentary from within the Gutenberg Galaxy

The pursuit of examining the world through philosophy, mathematics, and science tends to be seen as expanding the borders of what is known and quantified, conquering the territory of what is not yet known. In this pursuit, the investigator encounters wonder or the "weird", and what ideologically separates some philosophers and scientists from others is whether the investigator sets aside the weird as a misunderstood quirk of what is not yet known but still knowable, or the investigator takes into account the weird as a fundamental, permanent attribute of the landscape of inquiry that may perhaps always represent factors which intrinsically and inescapably evade knowledge and literary explanation, not as a bug of our understanding but as a feature of the true ontological state of affairs. The former mindset supposes that with more time and rigor, our inquiry will finally arrive at a sort of epistemological/ontological "bedrock" that dispels any sense of the bizarre, the latter treats scientific inquiry itself as necessitating the injection of a sort of subjective poetry or play to adequately do justice to the full reality of what is observed and described for our purposes, without ever expecting that we will hit such bedrock. Materialism/scientism perhaps would posit that any inclusion of the mystical or poetic in the language we use to describe the world is inappropriate, pseudo-scientific, pseudo-intellectual, or maladaptive; the mystic posits conversely that to exclude the poetic and not make room for the weird is maladaptive.

I have here a collection of excerpts from other thinkers that I think work together to allude to the mystical as a permanent fixture of our endeavors for clarification through experimentation and language, or at least suggest that a more "mystical" mindset will always be more useful than one that is conversely more in the vein of materialism/scientism trying to arrive at a "final technical vocabulary":

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“We say the map is different from the territory. But what is the territory? Operationally, somebody went out with a retina or a measuring stick and made representations which were then put on paper. What is on the paper map is a representation of what was in the retinal representation of the man who made the map; and as you push the question back, what you find is an infinite regress, an infinite series of maps. The territory never gets in at all. […] Always, the process of representation will filter it out so that the mental world is only maps of maps, ad infinitum.” --Gregory Bateson, English anthropologist, social scientist, linguist, visual anthropologist, semiotician, and cyberneticist whose work intersected that of many other fields. His writings include Steps to an Ecology of Mind (1972) and Mind and Nature (1979). In Palo Alto, California, Bateson and colleagues developed the double-bind theory of schizophrenia. Bateson's interest in systems theory forms a thread running through his work. He was one of the original members of the core group of the Macy conferences in Cybernetics (1941- 1960), and the later set on Group Processes (1954 - 1960), where he represented the social and behavioral sciences; he was interested in the relationship of these fields to epistemology.

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“The mind is somehow a co-creator in the process of reality through acts of language. Language is very, very mysterious. It is true magic. People run all over the place looking for paranormal abilities, but notice that when I speak if your internal dictionary matches my internal dictionary, that my thoughts cross through the air as an acoustical pressure wave and are reconstructed inside your cerebral cortex as your thought. Your understanding of my words. Telepathy exists; it is just that the carrier wave is small mouth noises.” --Terence McKenna, "Eros And The Eschaton". McKenna was called the "Timothy Leary of the '90s", an American ethnobotanist, mystic, psychonaut, lecturer, author, and an advocate for the responsible use of naturally occurring psychedelic plants. He spoke and wrote about a variety of subjects, including psychedelic drugs, plant-based entheogens, shamanism, metaphysics, alchemy, language, philosophy, culture, technology, environmentalism, and the theoretical origins of human consciousness. -------------------------------------

“If quantum mechanics hasn’t profoundly shocked you, you haven’t understood it yet. Everything we call real is made of things that cannot be regarded as real.” --Niels Bohr, Danish physicist who made foundational contributions to understanding atomic structure and quantum theory, for which he received the Nobel Prize in Physics in 1922. Bohr developed the Bohr model of the atom, in which he proposed that energy levels of electrons are discrete and that the electrons revolve in stable orbits around the atomic nucleus but can jump from one energy level (or orbit) to another. Although the Bohr model has been supplanted by other models, its underlying principles remain valid. He conceived the principle of complementarity: that items could be separately analysed in terms of contradictory properties, like behaving as a wave or a stream of particles. -------------------------------------

“We have to remember that what we observe is not nature herself, but nature exposed to our method of questioning.” --Werner Heisenberg, German theoretical physicist known for the Heisenberg uncertainty principle, which he published in 1927. Heisenberg was awarded the 1932 Nobel Prize in Physics for the creation of quantum mechanics. He also made important contributions to the theories of the hydrodynamics of turbulent flows, the atomic nucleus, ferromagnetism, cosmic rays, and subatomic particles, and he was instrumental in planning the first West German nuclear reactor at Karlsruhe. -------------------------------------

“We have no right to assume that any physical laws exist, or if they have existed up to now, that they will continue to exist in a similar manner in the future.” --Max Planck, German theoretical physicist whose discovery of energy quanta won him the Nobel Prize in Physics in 1918. Planck made many contributions to theoretical physics, but his fame as a physicist rests primarily on his role as the originator of quantum theory; the discovery of Planck's constant enabled him to define a new universal set of physical units (such as the Planck length and the Planck mass), all based on fundamental physical constants upon which much of quantum theory is based. -------------------------------------

“There is no such thing as philosophy-free science; there is only science whose philosophical baggage is taken on board without examination.” --Daniel Dennett, American philosopher, writer, and cognitive scientist whose research centers on the philosophy of mind, philosophy of science, and philosophy of biology, particularly as those fields relate to evolutionary biology and cognitive science. A member of the Committee for Skeptical Inquiry, he is referred to as one of the "Four Horsemen of New Atheism", along with Richard Dawkins, Sam Harris, and the late Christopher Hitchens. -------------------------------------

“Things themselves become so burdened with attributes, signs, allusions that they finally lose their own form. Meaning is no longer read in an immediate perception, the figure no longer speaks for itself; between the knowledge which animates it and the form into which it is transposed, a gap widens. It is free for the dream.” --Michel Foucault, French philosopher, historian of ideas, social theorist, and literary critic. Foucault's theories primarily address the relationship between power and knowledge, and how they are used as a form of social control through societal institutions. His thought has influenced academics, especially those working in communication studies, anthropology, sociology, cultural studies, literary theory, feminism, and critical theory. Though often cited as a post-structuralist and postmodernist, Foucault rejected these labels. -------------------------------------

“When the mind projects names and concepts on what is seen through direct perception, confusion and delusion result.” --Patanjali, sage in Hinduism, thought to be the author of a number of Sanskrit works. The greatest of these are the Yoga Sutras, a classical yoga text. -------------------------------------

“The man who says that he has no illusions has at least that one.” --Joseph Conrad, Under Western Eyes (1911). Polish-British writer regarded as one of the greatest novelists to write in the English language. Conrad wrote stories and novels, many with a nautical setting, that depict trials of the human spirit in the midst of what he saw as an impassive, inscrutable universe. Heart of Darkness is among is most famous works. Conrad is considered an early modernist, though his works contain elements of 19th-century realism. His narrative style and anti-heroic characters have influenced numerous authors, and many films have been adapted from, or inspired by, his works. Numerous writers and critics have commented that Conrad's fictional works, written largely in the first two decades of the 20th century, seem to have anticipated later world events. -------------------------------------

“I learned very early the difference between knowing the name of something and knowing something.” --Richard P. Feynman, American theoretical physicist, known for his work in the path integral formulation of quantum mechanics, the theory of quantum electrodynamics, and the physics of the superfluidity of supercooled liquid helium, as well as in particle physics for which he proposed the parton model. For contributions to the development of quantum electrodynamics, Feynman received the Nobel Prize in Physics in 1965. He assisted in the development of the atomic bomb during World War II and became known to a wide public as a member of the commission that investigated the Challenger shuttle disaster. Along with his work in theoretical physics, Feynman has been credited with pioneering the field of quantum computing and introducing the concept of nanotechnology. -------------------------------------

“The critical ontology of ourselves has to be considered not, certainly, as a theory, a doctrine, nor even as a permanent body of knowledge that is accumulating; it has to be conceived as an attitude, an ethos, a philosophical life in which the critique of what we are is at one and the same time the historical analysis of the limits that are imposed on us and an experiment with the possibility of going beyond them.” --Michel Foucault -------------------------------------

“In mystical literature such self-contradictory phrases as ‘dazzling obscurity,’ 'whispering silence,’ 'teeming desert,’ are continually met with. They prove that not conceptual speech, but music rather, is the element through which we are best spoken to by mystical truth. Many mystical scriptures are indeed little more than musical compositions. “He who would hear the voice of Nada, 'the Soundless Sound,’ and comprehend it, he has to learn the nature of Dharana…. When to himself his form appears unreal, as do on waking all the forms he sees in dreams, when he has ceased to hear the many, he may discern the ONE—the inner sound which kills the outer…. For then the soul will hear, and will remember. And then to the inner ear will speak THE VOICE OF THE SILENCE…. And now thy SELF is lost in SELF, THYSELF unto THYSELF, merged in that SELF from which thou first didst radiate.… Behold! thou hast become the Light, thou hast become the Sound, thou art thy Master and thy God. Thou art THYSELF the object of thy search: the VOICE unbroken, that resounds throughout eternities, exempt from change, from sin exempt, the seven sounds in one, the VOICE OF THE SILENCE. Om tat Sat.” (H.P. Blavatsky, The Voice of the Silence). These words, if they do not awaken laughter as you receive them, probably stir chords within you which music and language touch in common. Music gives us ontological messages which non-musical criticism is unable to contradict, though it may laugh at our foolishness in minding them. There is a verge of the mind which these things haunt; and whispers therefrom mingle with the operations of our understanding, even as the waters of the infinite ocean send their waves to break among the pebbles that lie upon our shores.” --William James, Varieties of Religious Experience. American philosopher and psychologist, and the first educator to offer a psychology course in the United States. James was a leading thinker of the late nineteenth century, one of the most influential U.S. philosophers, and has been labeled the "Father of American psychology". Along with Charles Sanders Peirce, James established the philosophical school known as pragmatism. James also developed the philosophical perspective known as radical empiricism. James' work has influenced intellectuals such as Émile Durkheim, W. E. B. Du Bois, Edmund Husserl, Bertrand Russell, Ludwig Wittgenstein, Hilary Putnam, and Richard Rorty, as well as former US President Jimmy Carter. -------------------------------------

“Metaphysical assertions, however, are statements of the psyche, and are therefore psychological. … Whenever the Westerner hears the word ‘psychological’, it always sounds to him like ‘only psychological.’” --Carl Jung, “Psyche and Symbol”. Swiss psychiatrist and psychoanalyst who founded analytical psychology. Jung's work was influential in the fields of psychiatry, anthropology, archaeology, literature, philosophy, and religious studies. Jung worked as a research scientist at the famous Burghölzli hospital, during which time he came to the attention of Sigmund Freud, the founder of psychoanalysis. The two men conducted a lengthy correspondence and collaborated, for a while, on a joint vision of human psychology. Among the central concepts of analytical psychology is individuation—the lifelong psychological process of differentiation of the self out of each individual's conscious and unconscious elements, a process which Jung considered to be the main task of human development. He created some of the best known psychological concepts, including synchronicity, archetypal phenomena, the collective unconscious, the psychological complex, and extraversion and introversion. -------------------------------------

“God is a psychic fact of immediate experience, otherwise there would never have been any talk of God. The fact is valid in itself, requiring no non-psychological proof and inaccessible to any form of non-psychological criticism. It can be the most immediate and hence the most real of experiences, which can be neither ridiculed nor disproved.” --Carl Jung -------------------------------------

“Daniel C. Dennett defines religions at the beginning of his Breaking the Spell as ‘social systems whose participants avow belief in a supernatural agent or agents whose approval is to be sought,’ which as far as Christianity goes is rather like beginning a history of the potato by defining it as a rare species of rattlesnake…. He also commits the blunder of believing that religion is a botched attempt to explain the world, which is like seeing ballet as a botched attempt to run for a bus.” --Terry Eagleton, Reason, Faith, and Revolution. British literary theorist, critic, and public intellectual, Eagleton has published over forty books, but remains best known for Literary Theory: An Introduction (1983). The work elucidated the emerging literary theory of the period, as well as arguing that all literary theory is necessarily political.

[artemis-entreri]

[[ This post contains Part 2 of my review/analysis of the Forgotten Realms/Drizzt novel, Boundless, by R. A. Salvatore. As such, the entirety of this post’s content is OOC. ]]

Genre: Fantasy

Series: Generations: Book 2 | Legend of Drizzt #35 (#32 if not counting The Sellswords)

Publisher: Harper Collins (September 10, 2019)

My Rating: 2 out of 5 stars

Additional Information: Artwork for the cover of Boundless and used above is originally done by Aleks Melnik. This post CONTAINS SPOILERS. Furthermore, this discussion concerns topics that I am very passionate about, and as such, at times I do use strong language. Read and expand the cut at your own discretion.

Contents:

I. Introduction

II. Positives     II.1 Pure Positives     II.2 Muddled Positives

III. Mediocre Writing Style (you are here)     III.1 Bad Descriptions     III.2 Salvatorisms     III.3 Laborious “Action”

IV. Poor Characterization     IV.1 “Maestro”     IV.2 Lieutenant     IV.3 Barbarian     IV.4 “Hero”     IV.5 Mother

V. World Breaks    V.1 Blinders Against the Greater World     V.2 Befuddlement of Earth and Toril     V.3 Self-Inconsistency     V.4 Dungeon Amateur     V.5 Utter Nonsense

VI. Ego Stroking     VI.1 The Ineffable Companions of the Hall     VI.2 Me, Myself, and I

VII. World Breaks     VII.1 No Homo     VII.2 Disrespect of Women     VII.3 Social-normalization     VII.4 Eugenics

VIII. What’s Next    VIII.1 Drizzt Ascends to Godhood    VIII.2 Profane Redemption    VIII.3 Passing the Torch    VIII.4 Don’t Notice Me Senpai

Mediocre Writing Style

I admire some authors for their lyrical phrases, some for their poignant imagery, some for their rapid-fire dialogues, and with so many others, for their ability to show a true mastery of language. I have never felt this way about Salvatore's literature, which will probably never win any awards for its diction if it remains consistent to its current level of quality. Salvatore has his moments, which I've described in the previous section, but sadly, they range from being vastly to overwhelmingly dwarfed by the rote and tedious writing practices he employs. It doesn't help that in addition to the employment of unimaginative diction, Salvatore writes a lot of long and laborious scenes full of words that serve little more than to fill up space. There is so much telling instead of showing, a problem further compounded by the exhausting amount of poorly-chosen anecdotes which he relates that, despite being a nonstop action book, Boundless is very hard to pick back up after putting it down. And, of course, there's the repetition of the same themes, of the same kind of things happening to the same characters, that certainly doesn't help the predictability.

Bad Descriptions

For every good turn of phrase I mentioned earlier, there exists a score of bad ones. If I were to give examples of all of them, with the other things I'd like to discuss, this article would end up being as long as the novel itself, so I'll simply point out the most cringe-worthy ones. 

The metaphor that takes the cake for the worst of the book is, "The horde had come, and now it pounced upon them misshapen humanoid forms, the wretched lesser demons known as manes, shambling out of the brush like an army of humans risen from the dead." Basically, what is happening here is that Salvatore pretty much wrote, "those demons came shambling out like zombies". It doesn't matter how much one dresses up a turd, the most one gets from the effort is a fancier-looking but just as stinky piece of excrement. Furthermore, the dressings that Salvatore uses in this example are flimsy and unsatisfactory in substance, with the vague adjective "wretched" that's as descriptive here as his customary usages of "magnificent"/"fine" and the tedious repetition in "humanoid" and "human". Additionally, it begs the question of why Salvatore specified an army of humans in a world in which the undead of all races would shamble, or, better yet, why not simply say "zombie", for a zombie is a prevalent and known theme in both the Realms and our world. It would've been one of the few ways Salvatore uses a shared concept without incurring a world break like he normally does. 

A close second in the diction mediocrity contest is, "as if Yvonnel's breath, blowing them out, was that of a magical dragon, one designed specifically against the life force of a demon." Why a "magical dragon"? Are there non-magical dragons that breathe magic? Not that there exists a type of dragon in Forgotten Realms lore with a breath weapon that is specifically designed against the life force of a demon. However, as is par for his course, to counteract lore not agreeing with his lazy constructions, Salvatore doesn't bother to research an appropriate in-universe analogy. He completely invents one but doesn't actually develop it, not that doing so would be appropriate in this context, but the creation of it is wholly unnecessary for the sake of a poor analogy. 

Another awful passage is, "with horrid creatures -- half drow and half spider -- all around the drow women and filtering back through the many shadows of the forest. Scores of these horrid mutants milled about..." It's bad enough to use the adjective "horrid" in an empty and vague way, but to do it twice in quick succession makes it seem like Salvatore doesn't know how to describe driders. By itself, a half-drow half-spider creature isn't inherently abominable. There's an increasingly large number of art pieces featuring dark elf arachnid centaurs, with beautiful humanoid faces and torsos attached to streamlined spider bodies that would even give arachnaphobes pause. What makes driders menacing, which Salvatore has described himself in the past, is that they're not these romanticized images of spider centaurs. Their humanoid torsos, rather than looking like they should belong to supermodels, are bloated and misshapen such that they're more reminiscent of the flesh beasts of nightmares. They have vicious mandibles protruding from their cheeks, sometimes multiple insectoid eyes, making their faces look more decidedly non-elven even with pointed ears. Admittedly, the physical appearance of driders has fluctuated through the D&D editions, but it's as though Salvatore couldn't be bothered to look up what their current iteration is. Maybe he did try and couldn't find a definitive answer, in which case he could've approached the drider's description in a more evocative way, for example by describing how the tips of their arachnid legs were sharp like swords digging into the earth, or perhaps by mentioning their aura of menace as they regarded the dwarves whom they towered over with hungry anticipation, as though the shorter folk were their cocooned victims waiting to be devoured. Or, even referencing how the driders came to be, the excruciating transformation process and fall out of favor with their goddess, both of which would've rendered them at least slightly unhinged. 

Some descriptions consist of fewer words, but are just as bad. For instance, Jarlaxle's bracers are at one point described as "magical wrist pouch". This evokes an imagery of literal pouches hanging from around his wrists, dangling like a pair of testicles in the wind, testicles that shoot out magical daggers into Jarlaxle's hands. Another similar example doesn't contain an analogy but is just as bad is, "a smallish man dressed in finery worthy of a noble house. His face was clean-shaven, his hair cut short and neatly trimmed." This description is so ambiguous and features adjectives that have been applied so frequently to other characters that it could have easily been Artemis Entreri, except it is someone quite different (Kimmuriel Oblodra). Putting aside how jarring it is to use "man" to describe male drow, there's a world break here in that drow shouldn't need to be clean-shaven, as they can't really grow facial hair, but at least there's the nice detail that Kimmuriel is apparently short-haired, contrary to what many assume of him to have long hair. Nonetheless, what happened to the usage of the word "short"? Furthermore, why not just state a height for Kimmuriel and put it into his character bible? To be fair, I've speculated that Salvatore doesn't use character bibles, but it's never too late to start. 

Salvatorisms

Boundless sees a return of what I've dubbed “Salvatorisms”, which are clichés and poor sentence structures that Salvatore abuses frequently. In Boundless, there's more than just those Salvatorisms dragging the narrative down. It's disappointing to see a professional author, especially one who'd been working in the field for over three decades, fail to follow a rule taught to amateur writers. Making the New York Times' Bestsellers' list does not make the usage of clichés, such as "merry band of misfits", acceptable. Especially considering how it's not even appropriate in the context that it's used for, namely, describing Bregan D'aerthe. Even though it's a priestess of Lolth who is considering the mercenary band this way, it's so incredibly unlikely that she'd think they were jolly, which the meaning of that cliché specifically includes. 

In Boundless, we also see a return of the “how [character] [action]ed!” sentence construction, after a refreshingly complete lack of any in Timeless. This is one of Salvatore's favorite ways to tell and not show, for stating how a certain thing performs a certain feat doesn't, ironically, actually ever convey how that thing is done. There's a new overused Salvatorism to add to his cliché stable, namely, the “up went”, “down went”, and other similar ways to open a sentence. There's nothing wrong with these kinds of phrases when used sparingly and with variety. As it is, the flavor of the text is quite intolerable, seasoned as it is with an excess of one type of additive. By the same token, in a fight scene between Arathis Hune and Zaknafein, Zaknafein's superior prowess is indicated by the sentence, "Except Zaknafein wasn't there". This sort of device can be effective to convey surprise and the unexpected, again, when used sparingly, but unfortunately, it is yet another one of Salvatore's favorite writing practices. The sentence is hardly even a proper sentence, but is used as its own paragraph.

The telling and not showing approach in Boundless extends beyond the diction. On numerous occasions, it's almost as if Salvatore couldn't be bothered to actually demonstrate how something is true, but instead, just tells us that it's the way it is. One way that he does this is through the usage of rhetorical questions, for instance, "Could anything be more invasive and traumatizing than having your body stolen from your control and turned against you?" I'm not sure if any of his readers can actually answer that question from personal experience. It's almost as though Salvatore did that purposely to minimize the possibility of someone realizing that different strokes exist for different folks and that the most traumatizing scenario for one person could be very different from that of another person. That aside however, a question like this leaves little room for imagination, and is even a bit bullying, for it corners the readers into having to answer "no" even while the scenario painted prior to it was not powerful enough to solidify that impression. 

Another way that Salvatore tells rather than shows is to use empty comparisons that lack a frame of reference. For instance, the reader is to understand Athrogate's strength and resolve through, "A lesser fighter would have fallen away in terror. A less sturdy person would have simply melted before the reeking horror." The problem with these statements is that they don't serve any purpose. They state the obvious, and are a poor attempt at being evocative. They have the same effect as simply stating that Athrogate stood his ground and didn't falter, except being more verbose and less effective. 

It's not just word usage that's repetitive. Boundless sees a continuation of the theme of having the same sort of things happen to the same characters. It's as though each character is a designated target for certain motifs, with those motifs not being applicable to other characters. For instance, Entreri appears to be the go-to target for torture, and after being made the one with the repeated childhood sexual assault, the sexual victimization in Menzoberranzan, the victim of rape by a succubus in Neverwinter and the over seven decades of enslavement, I'm getting very sick of seeing him the victim of yet another long-term grueling experience. Meanwhile, Drizzt is as holier-than-thou and full of sanctimony as he was in Timeless, and it's not a flattering look for him. I'm not sure if Salvatore thinks it is, but it isn't so much character consistency as stubborn obnoxiousness. In Drizzt's journal entry, he writes, "I fear that Zaknafein's transformation will not come in time to earn friendship, even familial love, from Catti-brie or from our child, and in that instance, it will not be in time to earn the love of Drizzt Do'Urden." Drizzt then goes on to state, "But he is my family by blood, and she is my family by choice. I have come to learn that the latter is a stronger bond." While the message that's attempted to be conveyed here is a very important one, the validity of it is harmed by the context. It's very unfair for Zaknafein to be presented as though he were more akin to the other Do'Urdens instead of the unconditionally loving father who didn't hesitate to put himself in harm's way, including dying in excruciating and humiliating ways so that his son could have a chance at freedom. This is yet another scenario in which Salvatore creates unnecessary drama while ignoring facets of his story that have genuine dramatic potential. Zaknafein is not the type of character with whom Drizzt should have to choose between family by blood and family by choice, as he's already shown that Zaknafein is trying his best to adapt to the new world. It is true that there are few opportunities for Drizzt to flaunt his moral beacon in Boundless, but there's nothing wrong with that, and should've just been left as it is, but it's as though Salvatore can't write a Drizzt novel without Drizzt having to be sanctimonious and preachy. It was wholly unnecessary to villainize a non-villainous character to repeat some of the same old tired writing practices. 

Also in the category of repetitive and tired themes, albeit one that doesn't further butcher the characters, is the catching of projectiles in one's cloak. This is a phenomenon that happens so frequently in the Drizzt books that had a reader no knowledge of the purpose of cloaks, they might think that their main purpose is to act as an anti-missile system. Cloaks originally became common because they protected the wearer from inclement weather while allowing access to the wearer's worn possessions. In D&D and other games, it became an additional equipment slot and as such, gained an practical value as well. A cloak without enhancing properties would actually serve as a detriment in a fight, acting as a loose and difficult to control extension of one's body that can be easily grabbed by the opponent, something that's accurately made a point of in The Incredibles. I suppose that there could exist a magical item like a Cloak of Missile Catching, but this isn't what any of Salvatore's characters ever wear. It's difficult to give Salvatore points for coming up with a creative use for what's basically an aesthetic item because it's just so impractical and unrealistic. It doesn't help that he repeats this motif so much that it approaches ego-stroking levels.

The second most major contributing factor to Boundless' tediousness is the obscenely large amount of recollections strewn throughout the book, making them overall more unsightly than the plastic polluting our modern day oceans. In the scenes set during the current timeline, almost at every turn we're given a history of what so-and-so is, or who so-and-so have associations with. These reviews, although brief, make up for their concision with their frequency. I can understand why Salvatore does this, for Timeless wasn't as standalone as he'd hoped, but his attempted method to rectify this fact in Boundless is more distracting than enlightening. Especially considering that much of the reviewed content is along the lines of, "Drizzt, trained in the ways of the monk by Grandmaster Kane", ergo, telling us how awesome Salvatore's protagonists are rather than shedding light into the significant events that shaped what is happening in the current book. When a significant event is mentioned, it is done so in such a cursory way that all a new reader would know is that something happened in the past that relates to what is happening presently, but otherwise it's like explaining different colors to someone who's never had vision before. For instance, "this was a trick Kimmuriel had used before, and very recently with Drizzt in Menzoberranzan, creating a telekinetic barrier that absorbed the power of every strike, magical or physical, holding it in stasis, ready for the magically armored person to release it back." This recap does manage to explain the relevant mechanic, however it also alludes to a very significant event, yet it's unclear what the purpose of it doing so is. The reference to what Drizzt did in Menzoberranzan doesn't say enough to allow anyone who hasn't read Hero to understand, but someone who's read Hero should remember the details of the climax of the book. So much of what Boundless presents is like this, retreads that make the novel tedious to read for those who have been reading, and probably only serve to further confuse those who haven't. Who is Salvatore writing for, then? Those who continue to throw money his way but never pay enough attention to what happens in his books to remember the climaxes? Are these the kinds of people that any author should point to as "proof" of their literary excellence?

Laborious "Action"

The one aspect that drives most of Boundless' tediousness is the sheer amount of long and boring action sequences that are wordy and not much of anything else. Salvatore's action scenes are more reminiscent of IKEA furniture assembly instructions than descriptive imagery, except that IKEA instructions are actually visual enough for one to use in constructing a pragmatic (and sturdy) physical object. Salvatore's action scenes are reminiscent of the type of smut in fanfiction that gives fanfiction a bad name, namely, cut and dried descriptions that are more like making a grocery list than painting a picture. At the very least, Salvatore's action scenes are not too anatomically ridiculous (yet), which makes them slightly better than the kind of fanfiction referenced. 

An example of a grocery list action scene is as follows:

There's so much going wrong in this passage. The inconsistent specificity of each element makes the whole feel like an incongruous collection of parts. Jarlaxle hooking his fingers on a jag in the stone is clear enough, as is flipping over, and rolling his feet can be understood even if vague, but how all of that ties together is as clear as a chunk of obsidian. How Jarlaxle pulled himself around the base of a mound isn't articulated, other than that he did it while keeping his momentum, which is superfluous because any acrobatic maneuver would keep its momentum because momentum is what makes those maneuvers possible. It's like the only basic physics concept that Salvatore understands is gravity, because "he fell with gravity" is one of the few things he doesn't spell out in his action scenes. In any case, specifics like if Jarlaxle went left or right aren't what's needed, but rather, how about some evocative imagery like, "he snapped like a whip around the sharp turn"? I'm not saying that's the correct analogy to use, I honestly don't know, because I have no idea what's supposed to be going on in this passage. The same is true of what's said of Zaknafein, which while a bit better, is still painfully dry. Some of the stuff doesn't make sense, for instance, how did Zaknafein leap on the wide base of the stalagmite? The base of a stalagmite is that which the stone formation grows out of, inside the rock itself, does Salvatore mean that Zaknafein propelled himself off of the side of the stalagmite near its base? The rest of the sequence, it's unclear what Zaknafein is flipping over and running along. Is it still the same stalagmite, or a different stalagmite? All of that is just words words words, except, of course, the one thing that's clear enough: that Drizzt is awesome and so is his dad.

Another grocery list action scene is, "A glance left, a glance right, and off he sprinted, up the side of a stalagmite mound, leaping, spinning, somersaulting, to hit the ground in perfect balance and at a full run." What this scene brings to mind is more along the lines of a Driver's Ed course followed by the Sky Dancer toy from the 90s rather than the agile moves of an acrobat. Again, an excess number of words are used to little effect, and all that's conveyed is, "Zaknafein is awesome". I almost feel like he should be clad in skin-tight black leather and be wearing high-tech sunglasses.

Yet another example of writing that only conveys how awesome Salvatore's characters are is, "the barbarian came to realize that this foe was far more akin to Drizzt or Entreri than to what he'd expect from a pampered Waterdhavian lord. The man's sword worked in a blur, every movement sending it at Wulfgar in a different angle, sometimes a slash, sometimes a stab, sometimes a punch from the hilt." The first sentence in this passage, although not describing any action, tells us a lot more about Wulfgar's opponent than the second sentence, which does actively describe the man's actions, even to a new reader whom wouldn't know about Entreri's history and what makes him what he is. Furthermore, there's a stuttered nature to the second sentence, with the "blur" description disagreeing with the choppy rhythm of the specified attacks. Rather than a blur, the noble's attacks feel more like a predictable pattern of programmed thrusts from an automated training dummy. 

Boundless wouldn't be the first Salvatore book in which I'd wondered if he'd confused himself with his writing. One example of what leads me to think so from this novel is:

What is even going on here? Did Salvatore switch Zaknafein and Jarlaxle's names by accident, intending for Zaknafein to be the one caught by surprise? Zaknafein's "don't wait for us!" suggests that he knows what's going on and has some level of confidence in the circumstances, yet as is demonstrated later in the passage, this is not the case. Indeed, later in the sequence (not shown), Jarlaxle is the one in control, deploying a back-up plan to guarantee their safety amidst the chaos. Yet, it's unlikely for Jarlaxle to scream, and Zaknafein to gasp, so perhaps Salvatore meant what he wrote. It's all too convoluted to tell, however. Further, while its a trifle nit-picky, wouldn't the command to "Let 'em fly, boys!" come before the quarrels were discharged? I mean, these are quarrels that do make things like stalactites explode, both powerfully AND beautifully, but dwarves have a lot of discipline.

Perhaps the most tedious action sequences are Zaknafein's extensive training montages, like the one in chapter four. It takes up literally forty percent of the chapter and proceeds in excruciatingly dry detail. The entirety of it is too long to quote here, but there are a lot of statements like, "hands across his belly to grab the hilts of his swords at his hips, right forearm over left", "he turned his right wrist as that sword came across bringing it vertical in its sweep, then shortening the cut, while the left went across perfectly horizontally, with full follow-through and even a step with the left foot in that direction", "he went to a series of same-hand, same-hip draws, where he brought forth the sword on his left hip with his left hand, right hand for the right", and so on. It's like Salvatore is writing The Dummy's Guide to Drow Swordfighting, as these sentences are more like step by step guide points than flowing combat moves. It's actually worse than that, because more than likely, these moves are more theatrical than actually practical, such that anyone who followed such a guide would indeed be a dummy, and quite a dead one at that if they expected to survive in drow society like that. And there's just so much of it, such that it begs the question of if Salvatore had a word count quota that he had to fill.

Finally, after a refreshing break away from it in Timeless, the standard Salvatore C-rated Hollywood stop motion fight scenes are back. Speaking to many members of the SCA and historical combat re-enacters and fencers, including ones who have read Salvatore's books, have taught me that most of the combat scenes, specifically concerning the usage of swords, are totally wrong. A consensus among the actual martial artists is that there's a lot of slashing when there should be stabbing, and the way that the characters conduct themselves in combat is more akin to sports than martial arts, being particularly evocative of hockey. It isn't surprising that Salvatore's inspiration comes from hockey, that is what he knows after all (more than swordsmanship and D&D anyway), but it seems that rather than improving his knowledge with research, he supplements it with popular themes in movies. Something like, "slowly they closed, though, until they were but a few strides away, when both, as if some silent understanding had passed between them, leaped into the air and roared" feels more like a transcription from a live action sequence, for in reality no purpose is served for two combatants to leap at each other roaring. It's a waste of energy, especially as the two have been aware of each other's prowess for a while and are not easily intimidated. If this scene was something that we were watching rather than reading, the sound effects might enhance the the drama, and while imagined sound effects can do the same for a written scene, something as bland as simply "roaring", just makes the whole scene banal.

[mittensmorgul]

hi I'm a dumbass, what does "meta" mean? I know the definition is "self-referential," but when people on tumblr make "meta" posts about spn, what does that mean, exactly?

Hi there! I’ll give you a simple answer, and then give you a slightly more involved answer.

In simplest terms, what we call “meta” in fandom is essentially “literary analysis” or “literary theory and criticism” (which DOES NOT mean “criticizing the thing” but critical exploration of the thing) applied to the show.

In slightly more complex terms, a television series is a more… broad-in-scope work than, say, a novel. Because of that, the sort of analysis we’re able to apply to it is also broader. We’re not just analyzing the text as a single-author, fully-contained work. Just from a writing perspective, we have multiple authors (dozens, in fact, over the course of the series so far), multiple showrunners with different visions of the overarching narrative, as well as visual and other production elements that wouldn’t apply to literary criticism in the classical sense of the word. Actors interpret the text, while setting, lighting, music, and all the other technical matters of production can inform our understanding and interpretation as well. So we use the term “meta” to include all of these things under a single analytical umbrella.

We apply the same theories and conventions of traditional literary analysis to other media, because so many of the themes, tropes, narrative structure, character development, and meta references (both self-contained within a specific piece of media and across the entire depth and breadth of human storytelling in general) are consistent and relevant in understanding how the story is being told.

In more complex terms, “meta” as a root word from the Greek means “beyond” or “after” or “behind.” And in analyzing the deeper themes, the subtext, the consistent elements of the media in question, we are looking “beyond” the surface level text. We’re going back “after” the story unfolds and looking for deeper meaning. We’re looking “behind” the story being told for the elements of storytelling that inform and are informed by a broader understanding of how stories work.

At the most simple, meta is just the word we use to convey that we are nerds for a thing, and got all nerdy on it. You may have notice that not all meta is created equally, though. That’s because different meta writers have different backgrounds, different areas of expertise, and different points of view.

For example, some folks may approach from a narrative structure perspective, and focus more intently on the overarching story and how it must unfold in order to actually “work” from a storytelling perspective. Introduce plot element, resolve plot element.

Some folks focus on a character development perspective, wherein they look more to the psychology and evolution of character arcs based on an understanding of their individual plot complications and eventual resolutions. For example, the recent rounds of Jungian themes informing the Shadow and Ouroboros discussions.

Some folks look more at other production elements, if their backgrounds are in film and television production. Lighting and music and camera angles and staging will inform their analysis of the narrative and add layers of understanding from a technical perspective. These things tend to carry over across the vast majority of media, as a sort of “language” of their own, the same way literary storytelling tropes in novels tend to carry over across the majority of literature.

Still others look to tropes and narrative themes, with an understanding of how they function within a scene, an episode, or even an entire season. Because plot points that function as narrative tropes this way tend to comply with the traditional rules of storytelling, and an understanding of how stories work in a very general sense can inform a viewer’s understanding of the specific piece of media being consumed.

Human brains are weird. I see posts going around every once in a while joking about how writers don’t intentionally inject subtext or deeper meaning into their works, and I call bullshit on that. Because writers do not create their works in a vacuum. It’s literally IMPOSSIBLE for any human being who understands how stories work well enough to be able to write a story in the first place to NOT inject subtext via their own personal library of every story they’ve ever consumed. They may not even realize they’re doing it, and it might not be at the forefront of their mind while they’re writing, but if they’re writing a sensible story that flows and holds a reader’s attention in any way, they’re doing this at least on a subconscious level.

And a GOOD writer will do it intentionally, and consistently.

This is literally what makes stories “resonate” with readers. It’s this subconscious understanding that pulls at emotions and makes stories “relatable” and “draws the viewer in” and makes fictional characters feel like real people, and fictional worlds feel real enough that we could step into them and interact with the characters.

Meta just… attempts to take those undefined and often unnoticed elements of media and basically point big flashing arrows at them. We basically nod at the thing, and then explain WHY the thing, and it’s just our way of sending nerd high fives to the original creators of the thing.