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sciencestyled · 4 months

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The White Witch’s Whimsical Whirlwind to the Wonders of the Multiverse

From the frosty confines of my wintry castle, I, the White Witch of Narnia, find myself musing over a peculiar series of events that have led me to pen a most unusual guidebook. It all began on a particularly icy afternoon, when I was entertaining myself by fashioning new statues out of unfortunate Narnians who had crossed my path. As I admired my handiwork, my thoughts wandered to realms beyond my snowy dominion.

It was then that my loyal yet intellectually limited reindeer, Reginald, stumbled upon a peculiar artifact half-buried beneath the snow. Intrigued, I commanded him to bring it forth. It was a strange, box-like object, humming with an energy unfamiliar even to my vast magical knowledge. A label on its side read “Quantum Mechanics for Dummies.” Ah, the irony!

As I flipped through its pages, a wild thought took root in my mind. What if, in some alternate universe, I was not the feared ruler of Narnia but something entirely different? A baker, perhaps, delighting in confectioneries rather than concocting frosty spells? The idea was as amusing as it was intriguing.

That night, as I lay in my bed made of enchanted ice, the concept of the multiverse began to unfurl in my mind like a magical scroll. I envisioned endless versions of Narnia, each with a different tale, a different outcome of my battles with Aslan, and, most importantly, a different version of me. Oh, the possibilities!

The next morning, I summoned Reginald. I needed an audience for my newfound obsession, and who better than my trusty reindeer? "Reginald," I began, "imagine a universe where you are the ruler, and I am but a mere servant!" The look of bewilderment on his face was priceless.

Driven by a sudden and uncharacteristic desire to share my thoughts, I decided to pen a guidebook. But not just any guidebook – a guidebook to the multiverse, explaining this fascinating concept to the inhabitants of Narnia (and particularly to Reginald, who seemed perpetually confused).

I spent days and nights in my library, poring over ancient texts and the strange quantum book, piecing together a narrative that was both educational and, dare I say, whimsically amusing. I even included a section titled "A Frosty Foreword," where I introduced the concept of the multiverse to Reginald as if explaining it to a child.

In my guidebook, I explored various types of multiverses, drawing parallels with the diverse landscapes and creatures of Narnia. I wrote about universes where every possibility existed – somewhere I was kind, somewhere I was cruel, and somewhere I was... unimaginably ordinary. The thought made me chuckle.

But then, as I delved deeper into quantum mechanics and cosmic inflation, I realized the profound implications of these theories. They suggested a reality far beyond my icy reach, a realm of endless possibilities where my rule was but a speck in the vastness of creation.

This realization, though humbling, did not dampen my spirits. Instead, it fueled my enthusiasm to complete the guidebook. I titled it "Beyond the Wardrobe: The White Witch’s Guidebook to the Multiverse." A fitting title, I thought, for it invited the reader to step into a closet of cosmic wonders, just as Lucy Pevensie once stepped into a wardrobe to discover my beautiful Narnia.

As I penned the final words, I felt an unusual sense of accomplishment. This guidebook was not a spell or a curse, but it was powerful in its own right. It had the power to open minds, to spark curiosity, and perhaps, to make even the dullest of creatures ponder the mysteries of the cosmos.

And so, here I am, the White Witch, unexpectedly turned author, presenting to Narnia (and to a perplexed Reginald) a guidebook to the wonders of the multiverse. It’s a whimsical whirlwind of a journey through theoretical physics, and it’s as enchanting as any spell I’ve ever cast.

#science #science education #physics #education #multiverse #science art

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shelobussy · 3 years

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what are ur thoughts on edmund pevensie

aah I'm so glad someone asked!! thank uuu <3

My thoughts on Edmund Pevensie? Mr. redemption arc boy? My sassy bean? Sulky little shit boy? Oh my god where do I start.

(putting under the cut because this gets unnecessarily long and my mutuals are tired of me)

Edmund Pevensie is a horrible little gremlin who turns into a delightful little gremlin over the course of one book/movie and ends up being one of the best characters in the series. I don't know whether to rant about book!Edmund or Movie!Edmund, but I supposed I could do both?

So pre-redemption, Edmund is a generally awful person. I really like that. Whenever we get a redemption arc in modern media, it's usually 70% defending why Character A is actually a sad emo child who was neglected and actually you know what? It's everyone else's fault that this person does shitty things (i.e. k*lo ren, vanya hargreeves, mcu wanda, etc).

Edmund is a truly hateful person and canon DOES NOT APOLOGIZE OR VALIDATE IT. Even in the movies (where they make him more sympathetic by drawing attention to the fact that Edmund is a child being manipulated by an abuser) they recognize the fact that he was a nasty person before the White Witch ever came into play.

I LOVE that. I love a redemption arc. And the only way a redemption arc really, truly works is when the character being redeemed is a Bad Person. It makes it so, so much more satisfying when the character finally comes to their senses and Does The Thing that starts/completes their arc.

AND EDMUND'S IS TOP TIER. In the books, it's a bit less explicit, but by the time he finally reaches Aslan's camp and talks to Aslan, he's pretty much made a full 180. He is immediately forgiven by his siblings and the Narnians and when the White Witch turns up, he is unafraid. He has full confidence that Aslan knows what he's doing. In the Battle of Beruna, he's the only person smart enough to realize that going after the White Witch's wand is the best tactical move. There is no clear "heroes redeemed journey" (as i'm calling it). Edmund realizes that he was wrong, accepts Aslan, and helps defeat the White Witch.

The movie makes Edmund work a bit more. He's forgiven by his sisters', but not quite by his brother. It's vague whether or not the rest of Narnia has forgiven him. When the White Witch arrives, he shows visible fear. It's only after he breaks the White Witch's wand and dies/nearly dies doing so, that he's allowed to be fully redeemed and forgiven by his brother.

I have conflicting feelings about how both of these narratives are different and the indicators thereof of said differences, but that's a whole other meta post I don't have room for. What I can definitely say I do love about Movie!Edmund's redemption arc is how they conclude it. In the book, you don't actually see the moment where Edmund breaks the White Witch's wand and it's more inferred than directly stated that she's the one who wounded him. He also doesn't come as close to actual death in the books.

In the movie everything is absolutely fucking perfect. They start out the battle with Edmund looking unsure of anything except Peter and they end it with Edmund dying (?) in front of him. The moment where Edmund decides to defy Peter one last time and break the wand? 14 year old me was losing her SHIT. They literally could not have concluded his arc better. 10/10 Disney.

Prince Caspian--books and films--gives us a clearer picture of who Edmund is after his redemption arc. He's still kind of snarky, but 100% a ride or die for his siblings. He believes Lucy when she says she sees Aslan, supports Peter and Caspian in their quest to get Caspian on the throne, and is the most level-headed character in the book. He is also incredibly sulky in the books and 1000% done with Trumpkin's shit. It's delightful. They translate this in movieverse for him being 1000% done with Peter's shit which is even better. He does not really have an arc or plotline, but as a supportive character he's a 10/10.

The Voyage of the Dawn Treader has my favorite Edmund. This is an Edmund without his older siblings. This is an Edmund who gets to bond with Lucy, Caspian, and Eustace and have wacky sea adventures. The Lucy/Edmund dynamic is STRONG and I am living for it. Both of them banding together to hate Eustace for half the book? 11/10. Both of them banding together to love Eustace for the other half of the book? 14/10.

Also, this is the book where we find out Edmund reads detective novels. Which is adorable and so in character for him.

Oh my god let's talk about Eustace and Edmund. After Eustace tells Edmund about what happened with him and Aslan and apologizes for being a dick? Edmund is immediately there to reassure him that all is forgiven, and actually? Edmund was a worse person his first visit to Narnia. (Pls get some self esteem Edmund.) Let's talk about Eustace and Edmund being protective over Lucy (who doesn't really appreciate it, but it's adorable just the same).

Movie!Edmund in this story is also a snarky delight, but the main thing that jumps out to me is HE AND CASPIAN ARE SO GAY FOR EACH OTHER HOLY SHIT. LIKE THEY TRIED TO PUSH LUCY/CASPIAN FOR A HOT SECOND AND THEN GAVE UP BECAUSE CASSMUND IS LIVING THEIR BEST GAY PIRATE LIFE.

Oh we should probably talk about Edmund in the Horse and His Boy. Yeah, this one is a real delight because we actually get to see grown up Edmund. There are so really awesome moments here, especially with him and Susan. My favorite is where he basically tells her, "yeah if you married that dick prince I would have totally hated you for it. thanks for making a good choice on that." Lmao. It's really interesting to see him more measured and mature in this book.

So anyway, to cut this rambling reply short. Edmund Pevensie has been my favorite character since I was 11 and first read the Narnia books and he continues to be in each adaption of the series. Can't wait for the Netflix adaption.

(ask me about book vs. movie meta, cassmund analysis, the problem of susan, or anything else narnia related for more ramblings <3)

#ash does fandom #ash does meta #ash rambles #narnia #edmund pevensie #the chronicles of narnia

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writing-with-olive · 4 years

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How to write a five paragraph essay

This is going to be my third and last of these posts, unless people have questions that arise from them (at which point I am more than happy to make more - just let me know!) You can find my post about writing thesis statements here, and my post on essay conclusions here (both imbedded). Unlike my previous posts, this is going more in-depth about five paragraph essays, though I imagine you can take the tips here and apply them elsewhere.

Alrighty guys. Strap in because this one’s gonna be a bit long.

1) Prewriting

Okay. Since I hate prewriting as a concept (seriously. You do all this work and you don’t have any essay to show for it? what is this?), I tend to keep it pretty short and sweet, but it is necessary.

What do do?

Read through your source material, and get an understanding of what you’re going to argue about

As you’re reading, make sure you write down your sources or else doing your bibliography is going to be a pain (just copy/pasting urls should suffice at this point)

Create an argument (generally, what is the point you’re trying to get across)

Write your thesis. It’s important that you do this AFTER reading the material, as you won’t know what to argue if you come up with a thesis before doing the reading. Constructing your thesis is also important to do before you actually get to writing, as it informs a lot of the structure of the essay. For more info on how to construct a thesis, I made this post as part of this mini series not too long ago (same link as above).

Outline your essay. This can be detailed if you like it like that, or it can just be a few words for each paragraph. As I personally find outlines to be both necessary and a pain, I tend to go with the latter of the two (described further in the example below). However, experiement with both - some people work better when they have detailed outlines with all of their sources and arguments listed under each paragraph heading.

How to outline

(How to outline, as well as how to write the intro paragraph, body paragraphs, a link to how to write conclusion paragraphs, and general tips all under the cut)

As you may have guessed, there are a number of ways to outline. The most basic looks like this:

Paragraph 1: Intro Paragraph 2: [insert topic 1] Paragraph 3: [insert topic 2] Paragraph 4: [insert topic 3] Paragraph 5: Conclusion

From here, you can make things more and more detailed if you like. Some common things people put in outlines are:

evidence presented

points made

relevant sources for each paragraph

their topic sentence

etc...

My advice is to play around and see what works best for you. If you’re like me and really really hate prewriting, you may go with a simpler approach. Or, if you find drafting to be hell on earth, maybe put more time into prewriting to make drafting faster.

2) Introduction

This is arguably the most important part of your essay (at least, that’s what my middle school teachers always said). The common difficulty is that everyone seems to be saying how important it is, and how cructial it is, and how [insert synonym for important and crutial] it is, and all that jazz. Which means after a twenty minute lecture of WHY you should write an introduction, there never seems to be enough time to teach people how to actually WRITE it.

Here’s the thing. The point of your intro is to ease your reader into the topic. You don’t want to blind side them with something hyperspecific out of the blue. At the same time, you don’t want them to loose interest because you’re taking too long.

The trick is to use the funnel method.

It works like this: each sentence is a layer, and how wide the funnel is represents how broad your statement is. Your first statement is going to be huge - something that encompases a lot. Each sentence should encompass less and less, until you get to your thesis, which is very narrow.

A formula I frequently use (depending on if it’s applicable) is:

Intro: Sentence about humanity as a whole (establishes basic concept)

NS 1: Sentence that establishes that Intro thing applies to certain time/place (establishes the what/where)

NS 2: Sentence that specifies how, exactly, Intro thing applies to time/place (establishes how)

NS 3: Sentence that specifies relevant groups within this time and place

Thesis: the specific thing I am arguing.

In this (very generic, and also very fake) example, I’m going to bold every other sentence so they are easy to distinguish from one another. It’s the same pattern featured above.

Conflict is one of the universal truths of life. Throughout the ages, individuals and groups have found themselves on opposing sides of a disagreement, but few could compare to the 1789 B.C. Battle of the Frogs in what is now modern-day Tatooine. Dissention had been brewing for years, but when the Narnians finally stole all of native unicorns, the civillians of the sandy outer-rim planet finally hit a tipping point; they were prepared to sacrifice anything if it meant being free. Despite the epic proportions of the Battle, a few individuals were able to record the events of the conflict in journals that have survived to this day. In his journal “Of life on the Desert,” Percy Jackson describes the effects of war, including the impact it had on his family, his work, and the state of his village.

3) Body Paragraphs

These three paragraphs are where you will be backing up your thesis statement. This is a fair bit of space, to work with if you do it right, but it’s also not a lot of space, so you do have to make sure to use it wisely. An easy way to make sure you’re doing this right is to.....

Follow yet MORE paragraph formulas

(yay!)

Seriously though. Using formulas in your essays will set you free, and it makes it look like you know what you’re doing.

Sentence 1: Topic Sentence

This is usually going to start out with some kind of transition phrase such as “in addition to [previous thing]” or whatever. Then it’s going to introduce the thing you’re actually going to talk about in this paragraph.

Sentence 2 - Second to Last: Evidence and Analysis

For each paragraph, you’re probably going to want between three and four pieces of evidence (as two looks like there’s not actually solid evidence, and five becomes tedious).

For this structure, you’re going to want to spend a sentence introducing a piece of evidence, making sure to include the proper in-text citations (which I am not going to cover here, but I can cover in another post if someone asks me to).

After your evidence citation, you’re going to want to write at least one or two sentences of analysis, either picking apart just that piece of evidence, or linking that evidence to other pieces of evidence. For beginners, many teachers will expect about one line of analysis, from about sophomore year of highschool up, teachers begin to expect two or more.

Make sure that your evidence and analysis flows together - that is, organize your evidence into a logical order, and use transition words (there’s huge lists out there - google is your friend) to go from an analysis sentence to another piece of evidence.

Sentence 3 - Conclusion Sentence

This is one of the harder sentences to nail, but the idea is that you want to restate what your topic sentence is.

If you can’t think of a good conclusion sentence, you can write a transition sentence instead, and on the topic sentence of your next paragraph, leave off the transition.

4) Conclusions

I already did a post on conclusions, which is linked here (imbedded).

5) Miscellaneous Tips!

Never use “you” statements. This is because you can never be sure of your reader’s background, so it wrecks some of the credibility of your argument! If you’re describing something and you feel a burning urge to write “you might do X” or something along those lines, switch “you” out for the word “one”

Similarly, never use I statements. They make things look like opinions rather than facts. NOT GOOD. A good fix is to not use personal experiences that would force you to use I statements (unless explicitely asked to), and to cut off all phrases such as “I think” or “I researched.” These are implied, and you make your argument look stronger without them.

Avoid using the word “that.” If you can cut it out and the sentence still makes sense, cut it. It’ll make your narrative voice stronger.

If you need to make your essay look longer, find places where paragraphs end at the end of a line. Then, throughout the paragraph, un-abbreviate words that can be sensably un-abbreviated. This will push a few words onto the next line and give the apperance of a longer essay.

Similarly, if you want your essay to appear shorter (if you have a page limit or something), look for places where a paragraph just barely makes it onto a new line, and cut extra words so that the words move back until that new line isn’t there.

Keep track of all new sources as you go - it saves so much time.

Make in-text citations as you go, rather than trying to put them in after the fact.

Run spell check before turning in your work

Make sure your grammar is correct, and understand how to use colons and semi-colons (they will save your life)

Now, here are 1000 awesome points for reading until the end, and good luck with your essay!

#writing #writeblr #studyblr #writers on tumblr #school papers #essays #thesis statements #introductions #conclusions #body paragraphs #english #language arts #homework #schoolwork #olive’s writing vibes

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dancing-lawn · 5 years

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A Letter to the Creators of the Netflix Adaptation of Narnia

As some of you may already know, Netflix will be adapting the Chronicles of Narnia. Now, I don’t want to get my hopes up too much. The Magician’s Nephew was meant to be adapted not long after Voyage of the Dawn Treader came out, and that was scrapped in favor of Silver Chair, which is a dead project too. But, if the stars do happen to align and Netflix manages to adapt the series, I will be a loyal fan and supporter of the creators of the TV/film franchise.

Everyone has their own opinions on how the Narnia series should be adapted. Some believe that the religious tones should be enhanced, while others believe they should be lessened. Some want the series to be more gritty and serious, while others want it to be light and child-friendly. Some want to see accurate representation and an expansion of the Narnia universe (what are the other countries like? who is to say that all of Narnia is white, straight, and cis?) while others want it to be an exact adaptation. All of the concerns about Netflix adaptations are valid, especially given the importance of the Narnia series for many children around world as well as the undoubtedly religious aspect of hte series. Taking too many liberties may alienate the Christian community, whilet taking too few will ostracize fans who wish to see the books adapted to fit 21st century political, social, and cultural sensibilities.

I have my own opinions and hopes for the series: mainly, that I would love to be offered a richer picture of the Narnian universe, from what Calormen and Archenland are like, the political and social climate of the Golden Age, to the early reign of Frank and Helen. I think if done right, delving into these aspects will show a new side to Narnia, when it has been seen by most mainstream media as simply a Christian allegory while other fantasy series and given broader platforms and deeper analyses by the average consumer.

But, what I hope above all else that the Netflix production of Narnia captures is the spirit of the series. I believe for many kids who first read the novels, the religious tones go unnoticed. For many, Narnia is arguably the first example of escapism fiction, where children have authority and power, when they usually go ignored and silenced by adults.

Indeed, for C.S. Lewis himself, Narnia was not intended to be first nad foremost a Christian novel. He has said multiple times that he didn’t envision Narnia as allegory, and that he developed the plot and fantasy before he realized the similarities to Christian themes. He created Narnia from a dream of a lamppost and a faun in a red scarf, and it was that dream that carried him through seven books, that saw the birth and death of a world.

Instead, Narnia is an amalgamation of several cultures and themes. He incorporated Celtic fairytales alongside Judeo-Christian themes, as well as Greek mythology and astronomy. C.S. Lewis was a scholar before he was a Christian (he was a strong atheist before meeting J.R.R. Tolkien who convinced him to rejoin the Church) and it is his scientific reasoning that informs much of the series. As a result, to write off the Narnia series as “just” a Christian book, thinly veiled as fantasy, would be false on multiple counts, and I hope the Netflix producers see the series as more than that.

For me, Narnia is not about Christianity or even religion. Instead, Narnia is about rediscovering magic and joy, when all seems hopeless and you have no power or control over your own life. The Pevensie children are sent off to live in the countryside with a stranger after the Blitz, passive actions of their political reality. Still, when they enter Narnia, they encounter the White Witch, who seeks total control over the world. In the world that the Pevensies are brought up in, age equals authority and power; even the older siblings try to control Lucy, and much of the early sibling interaction between Edmund anad Lucy has to do with him seeking authority over his younger sister. The other books, too, show this conflict between children and authority figures: Diggory versus Uncle Andrew, Shasta versus his adoptive father figure, Prince Caspian versus Miraz, Eustace and Jill versus the stifling intellectual environment of their school and families.

What Narnia offers each protagonist is the opportunity to discover their own power and give them the opportunity to control their own narratives. Each character is active in his or her own story, rather than reacting to circumstances beyond their control. Certainly, they have guidance. But, Aslan’s help is rare, and often, the children save themselves. They make mistakes, but they also atone for them and move forward. Narnia shows children that they do have power, even if those around them don’t recognize or appreciate it.

At the same time, the series condemns authority figures and adults for forgetting their inner child. The books are not saying that adulthood is bad (Frank and Helen are positive adult figures, as are Diggory and Polly in later books) but rather, many adults lose the joy, courage, and creativity they once had as children, becoming cynical, shallow, and cruel as a result. Uncle Diggory’s obsession with appearances is mocked, when the Talking Animals mistake him for a tree; Miraz is defeated by his superstitions. The “problem of Susan,” often cited as sexism on Lewis’s part, is another example of this theme: that true maturity means accepting and celebrating the wisdom of childhood.

What a successful Narnia adaptation should do, then, is not preach Christianity or present a meaningless adventure, just for the sake of showing off advanced CGI, but tell us that even in times of darkness, you can still hold onto hope, you can still atone for your mistakes, and you can still have agency over your own destiny. The people around you may belittle and disrespect you, but that doesn’t take away your power unless you succumb to it.

It is hard to keep fighting, to keep having that hope when everyone around you has given up. But what the Narnia series shows us is that we can change the world and we do have an impact. That spirit - of courage, of dedication, of hope - is what I hope that Netflix manages to bring to the screen, above plot minutiae, cool CGI, and Christian allegory.

Narnia was never about playing it safe, finding a home, or having blind faith in a god. Instead, Narnia is about the struggle of finding yourself and believing in something against all odds, and that maintaining hope is not futile or useless but worthwhile and powerful. To Netflix, to Matthew Aldrich, to the incredible cast and crew that will be starting soon on adapting the book series that changed my life, I am excited to see you take on this challenge and show to the world the greatness of the Pevensies, Aslan, and Narnia. Good luck and courage, dear hearts!

#chronicles of narnia #netflix #mine

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theticklishpear · 6 years

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(A table of contents is available. This series will remain open for additional posts and the table of contents up-to-date as new posts are added.)

Part Three: Know Your Focus

The key to knowing whether you’re looking at a multi-book series, an episodic series of stand alones, or a single stand alone is all about knowing what story you’re trying to tell and what the scope of that story is.

There are essentially two broad categories of stories: character-focused and plot-focused. The division is simple, it seems. Is the point of the story to show what happens during a particular period of history in this world or is it to show what a specific character is going through during a point in history?

Notice I say “focused” not “driven.” Character-driven vs. plot-driven stories are labels determined by who is taking action within the story, not who is taking main stage.

Some will try to say that these can be mixed, but that’s not strictly true. There absolutely can be plot-heavy character stories and character-heavy plot stories, but in the end, a story is either about a specific character’s arc during a period of time or it’s about a specific period of history and how people reacted to it, as filtered through a character’s perspective.

It’s all about scope and size.

For any story there are always layers of events going on: The world’s events and your characters’ lives. The purpose of a narrative is to tell the story of how those strains of events intertwine, interact, and cause growth.

The idea of the “world” in “world events” can be as large as the universe in space-faring stories, or as small as a neighborhood in stories that have a far narrower lens.

The “main narrative” is the story’s plot arc that illustrates how those world events and the character influence each other. That narrative is your main focus, and the point of view you tell the story through is your lens.

Spotting Multi-book Series::

In a plot-focused story, the story that’s in-focus is what’s going on in the world. It’s your Lord of the Rings that tells not only how the Ring gets destroyed, but also the story of wars and overthrown governments, and on and on. It’s your Air Awakens that tells of how wars were waged, coups established and torn down, countries coming back together, and the truth of age-old legends coming out. It’s your Harry Potters that tells of not only Harry’s journey toward becoming a legend but the destruction of an entire hierarchy of status quos. These types of world-encompassing stories where the focus of the story is on events that will likely be written in history books tend to be multi-books series.

Remember, “world” can be as big or small as needed!

These stories want to sell narratives that span long portions of (generally) consecutive time. They want to tell the events of the next year, the next five years, the next twenty years, and so much happens in that time frame that the author has a hard time narrowing the focus down from a wide-angle lens to something smaller without losing the essence of the story they want to tell.

So they tell it all, in all its big, multi-book glory.

Spotting Stand-alone Stories::

Stand-alone stories could be plot- or character-focused, but they tend to be as specific as possible.

While there are most certainly wider things going on, a stand alone narrows in its focus to a single part of the grander story of the world and the characters’ lives. Stand alones limit themselves very purposefully, homing in on exactly what the story is about, and who and where it’s most impactful to tell the story through and from.

It’s your The Phantom Tollbooth that goes through both a character and a world growth but completes the journey for both in a satisfactory way, knowing that there’s more history to the world, but feeling no need to tell the rest. It’s your Nimona that tells her, Blackheart, and Goldenloin’s stories without trying to tackle the obvious history that remains.

They know their purpose, they know what they’re trying to showcase, they get in and out without dallying around in extra stuff that could be told better in another story, and they almost always have the potential to expand if the author felt inclined.

Spotting an Episodic Series::

Episodic series are an interesting amalgam of the two. They take the purposeful self-limiting of the stand alone along with the wider world view and choose to tell individual stories from within the world’s history.

The way an author chooses which stories to tell may be based on the world’s events where they can choose an appropriate character to tell the story of how that piece of history went down, or they may choose based on when a character within the world is having an important life change.

These are your Cadfaels that tell about a medieval monk solving the Murder of the Moment, but also tells of battles during the English civil war between Stephen and Maud. It’s your Chronicles of Narnia that tell the stories of Narnian history at the most pertinent of times, from the most pertinent of perspectives, but also return to the Pevensies, their friends, and family throughout.

I wish there were an easy checklist of traits that could easily break down the elements of story in a way the you could tell at a glance whether what you’re writing a multi-book series or an episodic series.

It’s important to know what your lens is, what its focus is. It’s another way of evaluating exactly what and whose story you’re telling.

Next up: Have you told your story?

#writing #writing tips #narrative structure #posts by pear

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joshuabeck1001 · 7 years

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Why Peter Pevensie Struggles in “Prince Caspian”

(Previously published on my old blog, the GEEK BELIEVER. This version has been editied.)

I watch a ton of of movies. Like, seriously, a ton. I watch them, I rewatch them. I study them. I read too much into them. I know way too much about them. But sometimes, I see something more in them. I see a message in them.

The movie I’d like to talk about today is Prince Caspian. Of course, being a C.S. Lewis story, it isn't hard to find Biblical subtext, as the series was built on Biblical allegory. But that only means that I don't have to search hard for something to talk about. And, of course, this isn't a current movie by any regard; the Narnia movies have pretty much been forgotten at this point, and Prince Caspian itself was never considered the high point of the franchise. And, to be honest, Caspian was never my favorite of the series. But, to be fair, I have always watched this franchise as I watch all of my favorite fantasies, from Harry Potter to The Lord of the Rings, with my magic filter on; I watch them as fantasies. I watch them for fantastical stories of magic and adventure. And compared to the adventures of Harry and Frodo, Narnia was just never quite as good (even though The Lion, the Witch, and the Wardrobe being one of my favorite books as a child). But despite all that, I got the hankering to watch them again, and when I watched Caspian I noticed something that I hadn't before.

If I had to say why Caspian is the weakest part of the series, I would have to say it is the absence of God in that story. In comparison, Wardrobe and Dawn Treader have a lot more of God/Aslan, especially the former, telling a version of Christ's sacrifice for mankind. But God, and Aslan, are noticeably absent in Prince Caspian, for the majority of the film. And it was this, subconsciously, that made me dislike the middle movie a little, why it became my least favorite of the series. But rewatching it this time (and I actually watched it twice this time) I began picking up on the subtle undertones of the narrative; it was intentionally written for Aslan to be absent. It is, in my opinion, one of the most powerful allegories in the series, because of this.

Let's look at Lucy and Peter. Lucy, in the series, is the steadfast believer. She never questions Aslan, she never doubts him or anything she experiences in Narnia. Peter, along with his brother and sister, always questions, always doubts. When our heroes arrive in Narnia, they are met with a very different Narnia than the one they left behind. Over a hundred years has passed. Their old castle is in ruins, a new power rules the land, and the Narnians are all but gone. As they try to find their way through this unrecognizable world, they try to follow a remembered path, but find that the bridge they seek has long since collapsed, making their way impassable. It is then that Lucy, looking to the other side of the river, exclaims that she saw Aslan. But when everyone looks, they see nothing. Peter Dinklage even remarks "Do you see him now?" in his condescending, Peter Dinklage-y tone.

But the moment that really struck me was Peter's response. Peter, High King of Narnia, has a bit of an ego on him this entire movie. He even introduced himself to Dinklage's Trumpkin as "Peter the Magnificent", much to the amusement of his siblings. But at this moment, Peter asks Lucy why he didn't see Aslan. "Why wouldn't I have seen him?" Why wouldn't Aslan, the creater of Narnia, present himself to the High King of Narnia?

"Maybe you weren't looking." That's Lucy's response. And that line works well enough in the context of the scene; Peter wasn't looking in the same direction as Lucy when she saw Aslan. But this one line sets up the tone for the rest of the film. Peter didn't see Aslan, because he isn't looking for Aslan. He isn't seeking him. If Aslan wants Peter, Aslan should come to him.

Lucy, the unwavering believer in these films, knows Aslan is always near, and is fervently looking for him, waiting for him, seeking him. Peter, on the other hand, is trekking through Narnia as if he owns the place (which, technically, he does, as Aslan said in the previous movie, “Once a king or queen of Narnia, always a king or queen of Narnia,” meaning whenever these children pop up, they are automatically the highest authority, under Aslan). Peter is blinded by his own desires, noble as they might be, to notice if Aslan is nearby.

It is in this scene that Peter makes the decision to go his own way instead of Aslan’s. Faced with a chasm that they seemingly cannot cross, when Lucy see’s Aslan on the other side, she tells them that Aslan wants them to follow him. But Peter didn’t see Aslan, Peter doesn’t believe (this entire franchise would move a lot faster if people believed Lucy when she said something), and Peter decides to lead them in another direction. And, sure enough, several minutes later, they realize that there was a hidden path to lead them safely across the gorge. If only Peter had followed Aslan, despite not seeing him.

This theme carries throughout the movie. In a later moment, Lucy has to remind Peter who actually defeated the White Witch, him, or Aslan. And as they rush into battle, Peter shouts a rallying cry, “For Narnia!” And even this line screams of Peter’s growing disconnection from Aslan, for in the previous movie, the same call he made was, “For Narnia! And for Aslan!” Even when I first saw Prince Caspian in theaters, I remember that the lack of Aslan’s name at this moment stood out to me, even if all the other Biblical subtext didn’t. And that’s Peter’s problem throughout the entire movie: He’s trying to do everything by himself, and he’s not looking to Aslan, or for Aslan, for guidance.

This resonates in our lives. If we try to do everything ourselves, without God, we fail more often than we succeed. If we live our lives not seeking God, not looking for Him, we will never hear Him speak, and we will never see His path for us. So many people wonder why God isn’t affecting their lives, why they can’t see proof of God’s existence, of His power, His miracles. And that’s because they are waiting for God to show Himself to them. They aren’t seeking Him out.

Just like Aslan, God wants us to follow Him. He wants us to seek Him out, to see Him, to hear Him.

But in order to see God’s presence, in order to hear Him speak to us, we need to actively seek Him. We need to be looking for Him. If we aren’t looking, how can we see Him when he appears? If we aren’t listening, how can we hear Him when he speaks?

As one of my friends recently put it, if you don’t pick up the phone, how will you hear who’s talking? If we don’t pursue God, how will we find Him?

If you aren’t seeing God in your life, is it because He’s not there? Because He’s abandoned you? Or because you aren’t looking for Him, seeking His will?

And just because we don’t see Him, or we don’t hear Him, doesn’t mean we shouldn’t follow Him. Even if all we hear is silence, we should strive to follow God, no matter what, without question. It is only when we question, when we take a step back, when we choose not to follow Him, but go our own path, that we stumble and fall.

Think of God like a job. If you need a new job, do you sit on your couch and wait for someone to call you and say you’re hired? Or do you go out and apply for jobs and have interviews? Think of God like dinner. Do you sit at the table and wait for food to just appear? Or do you get up and prepare the food, or go out to a restaurant? The point is, there is work to it. God won’t just show up in our lives. We need to work to seek Him, to find Him, to listen to Him, to obey Him. We can’t be passive Christians. Being a follower of Christ is an active sport. We need to look for Him.

Peter finally sees the need to seek out Aslan instead of waiting for Aslan to come to him. After trying to do everything on his own, resulting in disaster. There’s a scene midway through the movie where several characters trick Caspian into summoning the White Witch to fight King Miraz. Caspian almost succumbs, but not before Peter knocks him out of the way. Peter, seeing the White Witch reaching for him from a wall of ice (acting as a portal for her spirit to reenter Narnia), almost loses himself and considers freeing her, seeing no hope in the battle they are about to be forced into, and seeing her as possibly his last hope. But she is thwarted, and the ice is shattered, and behind it, looking down on Peter, is a stone carving of Aslan himself.

It is only in this moment that Peter realizes the need for Aslan, and begins seeking Aslan, sending his sisters to find him while they attempt to hold off the opposing army. It is at this moment that the tables turn in favor of Peter. It is only here that he begins to succeed.

Only when we seek God will we have victory.

Peter is also a warning. It isn’t enough that we seek God and follow Him. Peter is a prime example of how Christians can lead people astray, if they aren’t following God. When Peter says “I think it’s up to us, now,” all of the siblings, including a reluctant Lucy, go along with him, instead of holding steadfast in their trust of Aslan. We have to be careful, as Christians, to make sure we are setting a good example for others, believers and non-believers alike. We cannot lead those who look to us astray, even if our intentions are good.

I love this franchise. I’ve read a few of the books, and I’ve watched all of the movies. Oddly enough, before I watched Prince Caspian the other day, it was my least favorite in the series. After rewatching all three movies, I can honestly say it is my favorite one, because it spoke to me, it spoke to what I am going through right now.

I am currently in the middle of some sort of resurgence of my faith. I’ve been reading a Bible study focusing on hearing God’s voice, on seeking him out. That I had the urge to watch Prince Caspian out of the blue, despite knowing it was my least favorite, and it having a message that fell directly in line with what I’m learning in the Bible, is no coincidence. It is God, speaking to me. I am starting to look for him, and He is starting to appear to me. In the movies I watch, in the books I read, in the conversations I have. When we seek God, everything falls in line. It is truly amazing.

Trust me, I am still struggling. And life is a struggle, a constant fight against the temptations of sin and the Devil, not unlike the temptations of the White Witch. And it is only through a closeness, a dialogue with Christ that we can fight it and win. Otherwise the struggle will consume us, and we will lose more than we gain.

“Why wouldn’t I have seen him?” “Maybe you weren’t looking.”

Look for God, and you will find Him. It’s that simple. Don’t expect God to come to you when He wants you. You have to want Him, you have to look for Him. Being a believer is not a spectator sport. Seek Him, in all that you do.

Fun Fact: The writers of the three Narnia movies, Christopher Markus and Stephen McFeely, also wrote another famous trilogy of movies, Captain America, the third (and best) of which, Civil War, is now on Blu-Ray.

Extra Tidbit: One of my other favorite moments in this franchise is in Voyage of the Dawn Treader, when they reach the shores of Aslan’s Country. Aslan tells Lucy and Edmund that this is the last time they will be in Narnia. Lucy asks if they will ever see him again in our world, to which Aslan replies, “Yes. But there I have another name. You must learn to know me by that name. This was the very reason why you were brought to Narnia, that by knowing me here for a little, you may know me better there.”

#narnia #c.s. lewis #prince caspian #the lion the witch and the wardrobe #aslan #peter pevensie #lucy pevensie #god #jesus #bible

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anamsaorreads · 7 years

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2017 So Far - Part Three: Narnia, Detectives and Shorts

Okay, so I meant to wrap this wrap-up up within three posts but I totally forgot about a book or two. This clearly only further cements why I need this blog for myself: I have a book checklist, I checked the list, but somehow ignored a couple completed ones. (Yay, photo re-shoots... not.)

Anyway, here’s a very vague and rambly discussion of all the leftover fiction I've read that didn't really fit in (or I hadn't the time to write about) with the other ones: some beloved children's classics, some Oscar-worthy shorts, and some Scottish detective-work.

I came to Narnia fairly late in life, receiving an omnibus volume of The Chronicles of Narnia, by C.S. Lewis, as a Christmas present when I was 16. I've really enjoyed making my way through it, I'm just taking my sweet time (don't judge me, I hope to finally, finally, finish the series by the end of the year). So far, it's wonderful, and it absolutely deserves the title of a classic. It's magical and enchanting, both in its narrative and its visual descriptions (that Creation scene in The Magician's Nephew, tho!). As such, I would never dream of saying a bad word about CS Lewis' much-loved fantasy series.

However, I did forget that I had read Prince Caspian... Twice. Again, I'm not saying that's a bad thing, it's more a reflection on me, I admit. I loved it each time I read it, and loved getting to one of my favourite parts of the series at the end (the bit with the boys at the schoolhouse, just brilliant). In this book, the Pevensies help a young Prince in mission to restore his kingdom to former glory, where knowledge, truth, tolerance and equality among all Narnian beings can once again reign supreme.

The Voyage of the Dawn Treader closely follows the events of the previous book in Narnian time (well, relatively speaking ). Set against the immature sulking, squabbling, whinging and disbelief of the most recent English visitor to Narnia, the children (Edward, Lucy, and newcomer, Eustace) join the reigning King Caspian on an Odyssey though some magical new lands, in search for loyal Lords banished by the previous ruler. Each island they visit has its own unique fantastical features and challenges for the merry band to overcome. With dragons, mermaids, angels, even to the end of the world, the visuals descriptions and atmosphere are enchanting.

My one criticism is the prevailing sense of the series favouring traditional gender roles, and the pigeon-holing of Lucy as healer (and whinger) - I was really hoping she'd get to wield a sword at some point! I can forgive Aslan's deus ex machina appearance purely based on how wonderful the stories are, and because it seems like a running theme through the series. Dealing with the idea of (Christian) faith for a younger audience, the Pevensies' faith, and its effects, remain childlike, or else they lose access to Narnia. The idea of a mature faith is never really addressed, at least not at this point in the series. There's a good argument for a theological discussion of the series, but perhaps I'll wait until I've read them all (and maybe reread some of them).

I ordered Stories of Your Life and Others by Ted Chiang without realising that the title-story was the basis for the Oscar nominated film Arrival (which I wanted to see but hadn't at the time). I was in the market for another short story collection and some sci-fi (the collection as a whole is speculative fiction: some sci-fi, some fantasy, etc.). As far as I can recall, this collection was my first foray into sci-fi literature (I love a good sci-fi movie, though) and to be honest, I have mixed feelings.

I read "Story of Your Life" first, just in case I suddenly had to watch the movie, and I really enjoyed it! I don't want to give away too much if you haven't read it, and because the way it's written and the whole structure is integral to the story, but in short, it is a mother telling her daughter's life story and how the mother was affected by her interaction with extraterrestrials who make contact with Earth. I found it very imaginative and intelligently written, and although I loved the film too, the story explains things a lot better, and portrays everything in a much more nuanced, precise and delicate way that just wouldn't be possible with film.

I wasn't blown away by a lot of the other stories, specifically the sci-fi ones; some felt too similar in structure and tone to "Story of Your Life," ("Division by Zero"), or a little bit unoriginal (I didn't feel like "Understand" offered much more than what I have already seen in movies like Limitless or Lucy), but I also think there are some great concepts in there, and while I don't think they all worked, as such, it is a very intelligently written collection.

I did really enjoy two of the stories with more religious themes, "Tower of Bablyon" and "Hell is the Absence of God," the former calling to mind a very strange electro-acoustic album, "Babel" by Roger Doyle, part of which I had to study in school, the latter being Nick Cage's best bet for saving his career (it feels like the weird lovechild of Knowing and Left Behind, except, you know, actually good). That said, I hated "Seventy-Two Letters." Despite the charming steam-punk vibe, and interesting concept (using certain combinations of letters that allowed the animation of inanimate models to solve the problem of human fertility) it was too long, drawn out, and, in my un-expert opinion, poorly plotted. I'm sure some of you will disagree, but it left a bad taste taste in my mouth upon finishing the collection.

I had hidden my copy of Strip Jack away (it didn't quite fit on my feature shelf and I'm pretty short on space right now), so I forgot that I'd read it earlier this year. After being caught at an Edinburgh brothel during a police raid MP Gregor Jack's PR nightmare only gets worse as he becomes a person of interest in the disappearance of his wife. Inspector Rebus must find out if he is involved or if someone is trying to frame him.

This is the fourth book in Ian Rankin's prolific Inspector Rebus Series, and the second of his books that I've read. While his first novel, Knots and Crosses (see my 2016 Review) was an exciting pursuit of serial killer personally targeting Rebus, this installment focused more on political intrigue and complicated romantic relationships. Politics bores me in general, so I wasn't quite as enthralled by this story, though I did enjoy it in the end.

It's witty and relatively fast-paced and the changes seen in Rebus' character and person story-line definitely make me want to read more. His storyline doesn't seem to have such an impact on reading experience that they must be read in order, which is nice. I haven't read many other detective/crime novels (apart from a couple of the Sherlock Holmes novels) but I'm liking this series so far.

I'm really looking foward to reading more Rebus, and hopefully finishing off The Chronicles of Narnia this year.

I definitely want to read more short stories and science fiction too. Anyone got any recommendations?

What are your thoughts on the books mentioned above? Did I completely miss the point of Chiang's collection?

Next post: Non-Fiction

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