#classical allusion is classy

[aspoonofsugar]

Weiss and Jaune = Knight + Queen

Mirror Help me Who am I?

Weiss and Jaune are strong foils (mirrors), who can be analyzed through a specific motif.

They are both Knights (masculine):

And Queens (feminine):

This is made clear also through their respective allusions:

1 -Weiss alludes to Snowhite and plays all the different characters of the story with a specific focus on the Princess and the Prince, which is highlighted since the White Trailer:

Weiss and her inner Prince (Animus), who is corrupted and possessed by her Father

Here, Weiss fights a giant armor, which symbolizes the power her father (the patriarchy) has above her. She is fighting both for her freedom and to get back a possessed part of herself (the Arma Gigas is literally a haunted armor). If she wants to escape Jacques, she has to be her own Prince. In other words, to be crowned queen, she needs to become a knight first.

2 -Jaune alludes to Jeanne d'Arc who was both a maid and a knight. Jaune's story is about him growing into both. He needs to accept his inner maiden to become a proper knight. This is made clear in the Jaunedice's arc (this mini arc really works as Jaune's trailer). There he grows not when he gives in to toxic masculinity, but when he stands up to it:

Jaune performing his first miracle and later on being guided by his Goddess (Anima), who is none other than Pyrrha

Jaune makes progress when he nurtures his most feminine side and shows vulnerability by apologizing and asking for Pyrrha's help. A real man has no fear to show he is also feminine.

In short, both Weiss and Jaune's stories deal with the integration of their feminine and masculine parts, so that they can be full-fledged individuals.

ANIMUS AND ANIMA

Integrating the feminine with the masculine is a psychological process, which is described by Carl Jung with the archetypes of animus and anima:

The animus is the masculine part of a woman

The anima is the feminine part of a man

Each person has naturally both, but society promotes specific gender values and drives people to repress traits culturally associated with the opposite gender. So, to fully be complete a person should integrate the negated parts.

This is the case for both Weiss and Jaune, who are initially trapped in fixed gender roles:

Weiss is the rich spoilt princess. She is forced to adhere to the social role Jacques has chosen for her. She is the Schnee Heiress, which means she should always be classy, perfect and elegant:

Weiss: I'm. Not. Perfect! Not yet...

Jaune is instead the loser boy, who wants to be a knight. He doesn't really fit his gender nor social role. He is a male, but is weak, geeky and odd. He has a legacy of warriors to honor, but can't fight. So, he feels he isn't enough:

Jaune: I don't want help! I don't want to be the damsel in distress! I want to be the hero!

Basically they are both trapped in opposite ways. Weiss fits her legacy and stereotype so well people forget there is more to her. Jaune instead doesn't measure up to his ancestors nor to the classical male type, so everybody assumes he is bound to fail. This happens because Weiss and Jaune are victims in different ways of toxic masculinity:

As a girl, Weiss has to obey her father, to suppress her emotions and to be nothing, but beautiful. Think about how Jacques even weaponizes typical feminine traits Weiss has, like her talent at singing.

As a boy, Jaune has to conform to physical prowess and bravado. He has to be big, ripped and cool or else he is no-one. The idea he is not like the other boys is at the root of Jaune's insecurities.

At the same time, Weiss and Jaune are also incredibly immature and project outside the same gender roles they are trying to escape inside. Moreover, they do so specifically with each other:

Weiss: (mockingly) My hero.

This scene summarizes their whole early dynamic. On the one hand Weiss sees Jaune as the loser he is scared to be. She only sees his superficial bravado and misses who he is behind the mask. On the other hand Jaune is attracted to Weiss because he sees her as the perfect princess to his knight. So, he is drawn to the mask.

Even the reason Jaune initially falls for Weiss ties into this:

Weiss: Yeah! And we can paint our nails and try on clothes and talk about cute boys, like tall, blond, and scraggly over there!

Weiss here is mocking both Jaune and Ruby, two people she has misjudged and shows no respect for. She is being cold, superficial and rude. Still, Jaune falls for it and believes Weiss's words. He does because they describe Jaune as he wants to be perceived. So, he runs after Weiss and ignores Pyrrha.

In short, initially Weiss and Jaune can't see neither themselves nor others clearly. Luckily, this starts to change at Beacon.

ICE QUEEN AND VOMIT BOY

Sun: Ruby, Yang, Blake… Ice Queen.

Ruby: Look, I'm sorry! Vomit Boy was the first thing that came to mind.

Weiss and Jaune are given nicknames the moment they arrive at Beacon. This happens because they are both childish and self-centered, so they are called out by others. Specifically, their nicknames are light-hearted ways to criticize their perceived self-importance and the archetypes they are trying to emulate. Weiss is called an ice queen because she is acting as daddy's little princess. Jaune is instead jockingly named vomit boy because he tries too hard to look cool. They are still far away from who they want to become and their friends pick up on this. Luckily, giving them funny names is not all RWBY and JNPR do for Weiss and Jaune. Rather they help the two kids grow. In particular, Ice Queen and Vomit Boy develop in two different and complementary ways:

In volume 1 they learn to see who they are slightly better

In volume 2 they become able to see others with more clarity

Seeing One-Self

At the beginning of their stories Weiss and Jaune are running away from who they are:

I'm the loneliest of all.

Even when I told my parents I was going to Beacon, they told me not to worry if I ended up having to move back home. How depressing is that?

Both have big families, but feel lonely and misunderstood. So, they hope they can have a fresh start at Beacon, but immediately meet unforeseen circumstances:

By this point Weiss and Jaune are pursuing a superficial dream of heroes and monsters. They figure their most perfected selves beside the "right" patner.

On the one hand Weiss wants Pyrrha to be the "knight" to her "princess":

Weiss: This will be perfect! The smartest girl in class combined with the strongest girl in class! Together we will be unstoppable!

She wants someone strong (body) that complements her intelligence (mind). She thinks that in this way she can't fail.

On the other hand Jaune wants Weiss to be the "princess" to his "knight":

Jaune: Don't worry! No need to be embarrassed! So, been hearing rumors about teams! I was thinking you and me would make a good one! What do you say?

He wants someone who is beautiful and looks frail, so he can protect her. He thinks in this way he can appear strong.

Both are wrong obviously. This is why they end up with respectively Ruby and Pyrrha as partners.

Weiss needs to realize what complements mind is not body, but heart. This is why she is paired with Ruby, who lacks physical strength, but has more than enough heart to guide Weiss. Throughout the initiation, Weiss herself has to act as a Knight by saving Ruby from the Nevermore. And later on, she needs to follow Ruby's plan (so Ruby's mind) to take down the Grimm and pass the trial.

Jaune needs to realize a real knight is not physically strong, but is wise (mind) and brave (heart). This is why he ends up with Pyrrha, who is both and challenges him in two different ways. She doesn't fit feminine stereotypes and sees Jaune's value not in his superficial traits, but rather in his willingness to help. Throughout the initiation, Jaune shows this by staying behind to lead others into kiling the Grimm.

So, Ruby and Pyrrha are the ones, who can help Weiss and Jaune grow the most. However, the 2 kids struggle to accept it and enter into a conflict with their respective partners in The Bagde and The Burden and Jaunedice. These 2 mini-arcs are interesting because they do not really add anything to the main plot. Rather, they are episodes which focus on Weiss and Jaune respectively. Once again our wannabe queen and wannabe knight act as perfect foils to each other.

On the one hand Weiss is powerful enough to kill Grimms on her own, but wants to be the Queen giving orders. On the other hand Jaune has gained the title of leader, but wants to be the competent Knight slaining monsters.

In short, they want what the other has and miss what they already are. Why is that so? Because deep down they dislike themselves and can't see they have the seeds for greatness within. They don't need to look outside, but should nurture the inside.

Luckily, they are helped by 2 mentor figures:

Port: So instead of fretting about what you don't have, savor what you do. Hone your skills, perfect every technique, and be not the best leader, but the best person you can be.

Ruby: Because it's not just about you anymore. You've got a team now, Jaune. We both do! And if we fail, then we'll just be bringing them down with us. We have to put our teammates first, and ourselves second. Your team deserves a great leader, Jaune. And I think that can be you.

Port invites Weiss to grow as a person and Ruby reminds Jaune of his duties as a leader. So, Weiss and Jaune step up for the sake of their partners:

Weiss: Ruby, I think you have what it takes to be a good leader. Just know that I am going to be the best teammate you'll ever have!

Jaune: Don't ever mess with my team - my friends - ever again. Got it?

Weiss encourages Ruby to be a good leader and promises her she will be the best teammate ever. She even aknowledges she has always loved bunked beds and makes a small step in integrating with her inner child. Something necessary if she wants to blossom into an adult.

Jaune fights Cardin for Pyrrha's sake and decides to dedicate himself to his role of leader. At the same time, he accepts Pyrrha's help, so he shows vulnerability. In other words, he starts integrating with his feminine side. Something needed to become more mature.

So, by the end of their first semester at Beacon both Weiss and Jaune have come to understand themselves and their roles a little bit better. Still, they have yet a long way to go when it comes to the way they aknowledge others.

What better chance than a dance to work on it?

Seeing Others

When it comes to the dance, Weiss and Jaune find themselves in the same situation of the initiation ceremony. They are locked into "triangles":

Jaune wants to go to the dance with Weiss, who wants to go with Neptune

Pyrrha wants to go to the dance with Jaune, who wants to go with Weiss

They pursue the wrong partner and ignore another person's feelings. In this way they do to another what they lament it is done to them:

Weiss: All my life, boys have only cared about the perks of my last name.

Jaune: It's Weiss… I'm completely head over heels for her, and she won't even give me a chance. She's cold, but she's also incredible. She's smart, and graceful, and talented-- I mean have you heard her sing? I just wish she take me seriously, y'know?

On the one hand Weiss wants to be seen for who she is, not her name. And yet, she refuses to look earnestly at Jaune and doesn't even recognize his feelings as genuine (recognizing someone's feelings doesn't mean to reciprocate them by the way). On the other hand Jaune wants to be taken seriously, but the moment Pyrrha tries to open up to him, he reduces her feelings to a joke:

Jaune: Oh please, if you don't get a date to the dance, I'll wear a dress.

At the same time, both approach love superficially. Jaune has started to really like Weiss as a person, but he is still far from truly seeing the girl in all her complexity. Weiss is instead failing to recognize Jaune's good qualities and is attracted to Neptune's try hard persona:

Neptune: Haven. And I don't believe I've caught your name, snow angel.

The narrative makes it very clear Neptune is just a shallower, but better looking version of Jaune. He is a geek (like Jaune), but calls himself an intellectual. He flirts with every girl that breathes, waaaay more than Jaune does initially. And yet, he looks cooler, so Weiss is attracted by him.

This "double triangle" is solved positively in 2 different ways:

Weiss and Jaune start to display respectively more masculine and feminine traits

Weiss and Jaune learn to see others a little bit better

Weiss plays the part of the knight and invites Neptune to the dance:

Weiss: I know this is a little unorthodox, but… I wanted to ask you something. Would you… like to accompany me to the dance tomorrow?

Jaune plays the part of the maiden and wears a dress to accept Pyrrha's late invite:

Pyrrha: I had no idea you were a dancer. Jaune: Yeah, well, these things tend to happen when you grow up with seven sisters.

On a deeper level, Jaune confronts both Pyrrha (the ideal self he must aim to be) and Neptune (the past self he has outgrown).

Pyrrha: I've been blessed with incredible talents and opportunities. I'm constantly surrounded by love and praise, but when you're placed on a pedestal like that for so long, you become separated from the people that put you there in the first place. Everyone assumes I'm too good for them. That I'm on a level they simply can't attain. It's become impossible to form any sort of meaningful relationship with people. That's what I like about you. When we met, you didn't even know my name. You treated me just like anyone else. And thanks to you, I've made friendships that will last a lifetime. I guess, you're the kind of guy I wish I was here with. Someone who just saw me for me.

He realizes he has hurt Pyrrha's feelings and has failed to see her the whole time. At the same time, he calls Neptune out on how he has treated Weiss's feelings:

Jaune: Do you even care about the girls you're hitting on? How they feel about you?

And finally, thanks to his ideal self (Pyrrha), he is able to give his past self (Neptune) a good advice:

Jaune: Then just go talk to her. No pickup lines, no suave moves, just be yourself. I've heard that's the way to go.

In this way, Jaune shows he has grown more mature and crowns his evening by wearing a beautiful dress and proving he is a great dancer (differently from Neptune).

Weiss grows too. She accepts Neptune's apology and thanks to him, she is able to finally see Jaune for who he is:

Weiss: You said you were embarrassed at first. What made you come talk to me? Neptune: You're looking at him. You got some good friends looking out for ya.

She might not reciprocate Jaune's feelings, but Jaune is still her friend and cares about her as a person, not as a trophy. This moment marks an improvement of Weiss's overall dynamic with Jaune and she starts to see him as a close one, even praising him occasionally:

Weiss: Well, he's certainly improved.

This is a top off for Weiss's growth as a less judgemental person. This process starts with Blake and her prejudice against Faunus and goes on with Jaune and her misjudgement of him.

All in all, Weiss and Jaune's months at Beacon are key for the kids' early development:

Weiss grows through Ruby and Blake

Jaune grows through Pyrrha and his team

They keep walking parallel paths and slowly start to aknowledge each other more. Weiss starts to see Jaune not as a loser, but as a person who is trying hard. Jaune start to see Weiss not as a damsel, but as a talented individual with wishes of her own. Similarly, their relationship with their inner selves improves, as well.

By the time of the Vytal Festival, both Weiss and Jaune are making small steps toward who they want to become.

The Vytal Festival: Unsure Knight and Clueless Maiden

Weiss and Jaune's tournament fights display their better qualities. On the one hand Weiss sacrifices herself for Yang. On the other hand Jaune is able to lead his team well. They are both more selfless with a better understanding of their roles in their teams.

This growth is marked by important moments outside the arena.

Weiss meets Winter, who inspires her to branch out a little. This is the catalyst for Weiss's transformation into a knight:

Jaune notices Pyrrha is off and tries to step into an adviser position. Basically, he tries to do what Pyrrha has done for him. He tries to guide her by symbolically playing a more supportive role. Moreover, he tries to help Pyrrha making sense of maidenhood:

Jaune: I guess… I'm just trying to say that… you've always been there for me… even when I didn't deserve it. And I can tell there's something on your mind, so… I don't know. How can I help?

Obviously, they are both still immature. Weiss is dependent on her father and can barely summon a tiny sword. Jaune is ignorant and isn't able to give Pyrrha the right advice. Still, they both try, even if they meet an unforeseen crisis. The Fall of Beacon.

Weiss manages to step in to protect Velvet. She acts as a real Knight in Shining Armor:

Jaune does his best to stand beside Pyrrha, even in her darkest moment:

Jaune: She's right. Whoever was on that microphone… they're the ones that did this. And we have to make sure they don't take anyone else.

Despite this, they both fail in the end. Weiss can't save Beacon and loses her new found home and family. Jaune can't save Pyrrha and loses the girl he loves. So, after so much development and growth Weiss and Jaune wake up to discover it still isn't enough. So, the finale pushes them back in the roles they have tried to escape so desperately.

Weiss is brought back under her father's thumb. Jaune is shoved into a locker, forced to fly away like a loser. Weiss is once again daddy's little princess, while Jaune is once again a wannabe knight, who couldn't save the girl.

SNOWHITE AND JEANNE

Ren: Well that embarrassment - that desire to go back and tell yourself not to be so stupid - that just proves you're not the same person you used to be. You're smarter, you're kinder, you're stronger, and you're not done growing yet. None of us are.

The Mistral arc marks a metaphorical growth spurt for both Weiss and Jaune. This development manifests in the volume 5 climax, where their stories intersect:

This scene is a culmination of their respective developments and ties with both their allusions:

Snowhite dies, but is resurrected by the Prince

Jeanne D'Arc performs a mircacle and brings back a person from the death

So, it is clearly very important symbolically, but what does it mean for Weiss and Jaune's characters, specifically?

1- Weiss and Jaune overcome two fake Maidens

Vernal and Cinder are the two fake Maidens of the Mistral arc, as the opening of volume 5 suggests:

Vernal is set up as the Spring Maiden and Cinder is set up as Raven's biggest foe. And yet, neither of them lives up to expectations. On the one hand Vernal is just a red herring, while Cinder isn't Raven's true opponent, but Yang is.

At the same time, Vernal and Cinder are Weiss and Jaune's opponents during the Battle of Haven. Interestingly, they both challenge the kids about their true identities. Who are they really?

Vernal: Let's see what the Schnee name really means.

Cinder: Who are you again?

Vernal mocks Weiss by stating she is nothing outside her name and Cinder sneers at Jaune by telling him he is a nobody. These are Weiss and Jaune's biggest fears. Weiss is scared her only value is her Schnee name, whereas Jaune is terrified of being a loser. In short, both Vernal and Cinder attack Weiss and Jaune's egos and leave them shattered:

Vernal physically breaks Weiss's aura, while Cinder psychologically destroys Jaune by targeting Weiss, just like she did with Pyrrha. Vernal and Cinder's objective is really to reduce Weiss and Jaune to nobodies. And yet, they fail. That is because the self is not found in physical strength or power, but rather comes from inside:

Yang: You might be powerful, but that doesn't make you strong.

In this battle Vernal and Cinder really symbolize Weiss and Jaune's illusory sense of selves. Their ugly personas. This is why they are both fake. Fake maidens masked with strength and confidence. And yet, they are deep down made of lies.

Vernal derides Weiss because of her dependency on the Schnee Family. And yet, Vernal herself has dedicated her whole existence to the Branwen Tribe and even changed her name for Raven's sake. In other words, she has reduced herself to her Spring Maiden persona. She is the one, who is nothing more than a name. And a false one, to boot.

Cinder laughts at Jaune's wannabe hero performance, but a lucky strike by her opponent is enough to derail her. An inexperienced fighter like Jaune grazing her breaks Cinder's whole facade and shows the ugly psychological wounds she hides behind a mask.

This is why Vernal and Cinder defeat Weiss and Jaune, but ultimately fail and actually destroy each other. Vernal dies by Cinder's hand, despite how strong and smart she is. Cinder is unmasked by Raven and falls because of Vernal's final desperate attack, which ensures Cinder's defeat.

Weiss and Jaune instead are reborn thanks to each other. Weiss is physically saved by Jaune, whereas Jaune starts to psychologically heal through helping Weiss. Weiss unlocks a new summon, while Jaune discovers his semblance. In the end, Weiss and Jaune don't need to play by Vernal and Cinder's rules.

Weiss's strength doesn't lie in her individual skill, but in the relationships she has built with others. She doesn't have to survive on her own because she is full of loved ones ready to help her shine. And she can help them too.

Jaune is heroic not because he is a lonely warrior slaying villains, but because he is a good friend always ready to help. His value lies in his wish to protect others. Moreover, he can rely on them when he needs.

Weiss and Jaune's real selves are in their hearts, which are growing stronger. That is why they lose the physical fight, but win the spiritual one. They ultimately succeed, as Weiss's Queen Lancer is key to saving Haven and Jaune's Aura Amp is fundamental in saving Weiss. Weiss protects a Kingdom, while Jaune protects a girl.

2- Weiss and Jaune integrate with their animus/anima

Weiss and Jaune embrace their true selves by reconciling their masculine and feminine parts. Once again this process is conveyed through their allusions.

Our Snowhite dies and is reborn twice. The first time, Jacques (the Evil Queen) kills her psychologically by taking away her Heiress title and imprisoning her in her room (the glass coffin). Weiss is able to escape by developing her masculine side (the Knight).

She successfully draws energy from her animus (her inner Prince) and uses this new found resourcefulness to escape. She leaves behind her passiveness (feminine) and grows more active (masculine). This is why her summon symbolically breaks the window and immediately after Weiss makes the choice to leave.

The second time, Cinder (another Evil Queen) kills her physically, but Jaune (the Prince) saves her. As a result, Weiss wakes up and is crowned Queen.

Becoming Queen in fairy tales means you have reached self-actualization. So, Weiss has become her true self, which is a combination of feminine (queen) and masculine (lancer). The Queen Lancer then symbolizes Weiss reconciling with her anima (feminine part) by making it freer, more genuine and stronger through her animus (masculine part).

Our Jeanne performs a miracle and has a vision. He brings Weiss back from the death in Haven. By doing so he physically plays the part of the Knight in Shining Armor. Still, he succeeds by integrating his animus with his anima. As a matter of fact he lets go of fighting and killing (masculine) and takes up healing (feminine):

Later on, he needs spiritual guidance and finds it in his anima (Pyrrha). So, he has a symbolic "vision" of her in front of her statue:

Obviously, the woman is probably Pyrrha's mother, but it doesn't matter. The whole scene is framed up as aetherial and ambiguous because thematically Pyrrha's soul points Jaune toward the right path. So, Jaune is guided by his feminine side.

Weiss and Jaune's journey in Mistral leads them to face their fears and let go of their personas. By doing so, they succeed at integrating their animus and anima. The end result is that they grow up.

Weiss blooms into a Queen:

Weiss's royal dress is blue (melted ice) and has snowhite-like puff sleeves.

Jaune becomes a Knight:

Jaune's outfit keeps his red details and adds more gold to it.

Upon their arrival in Atlas, they are not Ice Queen and Vomit Boy anymore, but genuine articles.

QUEEN AND KNIGHT

Right now I’m just a bit surprised Cuz I feel just fine And I might just touch the sky

The sun is shining in the sky The birds are smiling so am i I’m kicking ass in every way Think this change is here to stay It’s feeling like a brand new day

In Atlas, our Queen and Knight live their best lives.

Weiss arrests her father and reconnects with her estranged family. She becomes the Queen of the Schnee family. Jaune instead supports everyone, meets the admiration of civilians and is in generally successful. He becomes a perfect Knight in Shining Armor.

Even when the situation gets dire they both maintain a mature attitude. They are not touched by the Divide and their major conflict lies rather with a family member (sibling):

Winter: You're not leaving me. I'm giving you a head start.

Ren: You cheated your way into Beacon!

Winter and Ren oppose Weiss and Jaune out of repression and frustration. And yet, Weiss and Jaune's reaction is of empathy and understandment:

Weiss: Don’t worry, they’re sisters. Sometimes sisters just have very different ideas about what’s right.

Jaune: We’re all under a lot of stress right now. I used to push people away too.

They never doubt their loved ones and when Winter and Ren come around there is no need for apologies. Weiss and Jaune simply welcome them back with warmth.

In short, our Queen and Knight are among the characters who have grown the most, so they often come up with solutions. For example, Jaune offers a way to overcome the Divide from a practical point of view:

Jaune: Okay. Okay… Then let’s go for both. Get Amity up and running and evacuate Mantle.

Weiss is instead the one to state the theme outloud before the climax:

Weiss: Trust is a risk

This development is precisely why they both get to shine in the final battle.

On the one hand Weiss holds it together while her team is in disarray after Yang's fall. Ruby is traumatized and caught up in a fight with Neo, while Blake temporally loses it. Weiss keeps on facing Cinder alone and does her best to protect Penny and the relic.

On the other hand Jaune keeps a level-head and manages to evacuate the civilians only to join the fray at the very end. He reads the situation correctly and kills Penny when there is no other choice.

Weiss and Jaune have grown into who they want to be in the beginning. This is why they are the last fighters standing. And yet, despite all their training and maturation, they still fail. They face an Evil Queen (Cinder) and are defeated when they are at their strongest. Weiss is a true Queen fighting for her home and Jaune is a true Knight fighting for the people. And yet, they are crushed and fall. Just like at Beacon.

Once again, Weiss fails to protect a Kingdom:

Once again, Jaune fails to protect a Maiden:

At the same time, they believe the other can somehow succeed, even if they don't:

Weiss: Maybe… Jaune and Winter were able to get them out, despite… everything… despite us…

Jaune: I don’t know where the others are, but… Weiss will give us time!

Weiss hopes Jaune and Winter (aka her ideal) save the relics. Jaune hopes Weiss can buy him and Penny time, like Pyrrha (aka his ideal).

In short, Weiss and Jaune grow into their ideal selves, but still lose. Not only that, but they keep on projecting their ideals on others. And yet, these others also fail. So, what to do? The only choice is to let go of unreachable perfect paragons.

FALLEN QUEEN AND RUSTED KNIGHT

Weiss: I am a citizen of a fallen Kingdom and an heir to nothing. I will not be defined by my name because I will be the one to define it. I am Weiss Schnee, and I am a Huntress!

NeoCat: You were never the brave knight either! Just more fairytale nonsense!

Weiss and Jaune's journey in the Ever After is about letting go of their Queen and Knight idealized self-images. In this way they can truly accept who they are. This is difficult at first because they are full of self-hate and regret:

Weiss: But it wasn't enough! We hatched a crazy plan that put a whole kingdom at risk, and we don't even know if we saved the Relics...

Jaune: I’m trying so hard to save them… I stopped them from becoming what they needed to be. I was being selfish because I… I wanted the rush of rescuing someone and I got that here.

Still, they both work through it in 2 ways.

They face their traumas again:

Weiss: I am so tired of leaving places in ashes…

Jaune: On that bridge… I was the only one that could do it! I was the ONLY ONE! And I… And now I have to live with that forever… In here or back home…

They change their dynamic with Ruby, who they put on a pedestal.

Specifically, Ruby becomes a paragon for both Weiss and Jaune during the Mistral arc. There, Weiss learns to be emotionally vulnerable with her partner. Jaune instead grows to admire Ruby's optimism and hopeful self.

So, after the fall of Atlas, both Weiss and Jaune go back to Ruby. Weiss lets out all her troubles, while Jaune dives after Crescent Rose and proudly gives it back.

However, Ruby is in no condition to play Weiss and Jaune's hero. This shows and it unnerves them, who grow progressively more irritated with Little Red:

Weiss: Hurry! People are counting on us!

Jaune: I know you may not care about protecting this village, but you could at least help your friends when they’re in danger.

Until Ruby herself snaps at the both of them. Interestingly, it is Weiss's demand that Ruby consoles Jaune, which sets her off. Moreover, throughout her monologue, Ruby calls Weiss out on her dependency on her:

Ruby: What about me? “No time”, right? “Gotta get home!” “Gotta help Jaune!” Gotta find someone who isn’t just going to screw everything up!

And she lashes out against Jaune's hero complex:

Ruby: I’m sorry, is this a bad time? Are we supposed to be mourning Jaune’s make-believe friends?!

She pintpoints both their flaws and then runs away. It is Ruby's outburst, though, which wakes up Weiss and Jaune.

Weiss finally realizes Ruby's pain and empathizes with her. Her words clearly have an impact on Jaune too:

Weiss: Ruby has always been the one to get us through the hard times. We say things like “We believe in you”, “We can count on you”. I know we mean well, but…

They both let go of their idealization of Ruby, which in turns helps them with their own struggles:

Weiss: I think you’re asking too much of yourself. We’ve been telling ourselves that failing means we’re no good. But I can guarantee even the best Huntsmen in history… they’ve all lost. But they were still incredibly brave… and good.

In front of a genial ruby, Weiss and Jaune manage to move forward through each other.

Jaune is spiritually guided and shown empathy by Weiss. Weiss instead starts healing psychologically by helping Jaune. In a sense, this is a parallel and an inversion of their shared moment in volume 5. There Jaune finds himself strong enough to cure Weiss. Here Weiss finds herself wise enough to teach Jaune. Both are in a self-hate spiral, but then realize they are better than they think by saving the other. At the same time, this moment also calls back Jaune's "vision" in Lost. There Jaune is shown the way by a Pyrrha stand-in. Here Weiss steps into the role of spiritual adviser.

After spending the whole volume looking for someone to guide her, Weiss discovers she can be the guide. After spending the whole volume wanting to be the hero, Jaune realizes he is the one that needed help the whole time.

They both learn the main theme of the volume:

Jaune: Maybe that Cat was right… Maybe I just needed to accept it. It’s not a place you go.

They reach acceptance of who they are. Both their good traits and their negative traits. They accept they did their best, but also that they lost. And once they do, they become able to better accept others, as well:

Jaune: I think I get it. This is how we got here, or… why the Tree brought us here. Acceptance.

Weiss: We've done everything we can. Now it's up to Ruby. Whatever happens next… we have to welcome that.

Not only do they let go of their idealized self-images, but of Ruby's too. This is why they are ready to welcome her, no matter what. Strengths and limits, alike.

Thanks to their inner development, they both get to make another step into self-actualization. This growth is shown symbolically in the finale . Weiss is finally able to summon a full Nevermore, which combines all her previous glyphs (so it is symbolic of the self). Jaune accepts Alyx's hand and goes back to his real self through her (he goes from iron to mercury). These are glimpses of who Weiss and Jaune are going to finally become.

SOPHIA AND HERMES

Curious Cat: Looking at you, wise huntress.

Alyx: Maybe it’s time for a change, to be the kind of man you always wanted to be.

So, who are Weiss and Jaune going to be at the end of their journey? It is still too soon to say, but I would not be surprised if they were to become Sophia and Hermes to each other.

Who are Hermes and Sophia? They are the embodyments of a perfected animus and a perfected anima. In short, by the end of their psychological development, a woman should integrate with Hermes and a man should integrate with Sophia. Personally I think (wish) Weiss is stepping in the role of Sophia for Jaune, while Jaune is stepping in the role of Hermes for Weiss. Volume 9 might have given symbolic hints of this.

Weiss is directly associated with wisdom, which is what Sophia means.

Jaune goes from iron to mercury through Alyx and Mercury is just another way to call Hermes. Moreover, one of the symbols of Hermes in alchemy is a stag and well... Juniper resembles one.

Now, this final integration can be romantic (my preference) or platonic/individualistic (if they chicken out). What is sure is that it's going to happen, one way or another. It is just the cherry on top on a animus/anima story.

Snowhite and the Animus

Snowhite is the story of a child growing up. The first step in self-actualization is to stop identifying with the Mother, so the mirror image changes. This transformation generates an inner conflict. On the one hand there is the side who wants to grow up (Snowhite), on the other hand there is the side who doesn't wanna change (the Evil Queen). It is only by conquering the Evil Queen (the shadow), that Snowhite can truly become herself.

And how does she do it? She succeeds through an integration with her animus (masculine side):

The King is absent and doesn't help Snowhite

The Hunter appears and helps Snowhite

The Dwarves give Snowhite a home

The Prince saves Snowhite

As you can see, Snowhite's story is full of male characters and each new one is more helpful than the one before. This is because all these characters are representations of Snowhite's interiority and of her strenghtening animus. It is initially possessed, but then it progressively blooms until it saves the protagonist.

Now, this is just Weiss's story in a nutshell:

Willow is absent and Weiss's animus is possessed (The Arma Gigas she fights in the White Trailer)

Winter helps her and inspires Weiss to pursue her career as a Huntress (After her visit Weiss summons a part of her Knight)

Team RWBY welcomes Weiss and become her adoptive home and family (Weiss becomes herself through them)

Only the Prince is missing and it will probably be Jaune (he already is in volume 5). Wait, aren't all these characters women? Yes, they are because Weiss's fairy tale is all genderbent except her. So, why should Weiss's Prince be Jaune? Because in his case, he is the genderbent one :P

Jaune can be Weiss's Prince (again platonically or romantically) only if he fully blooms into Jeanne first. He can't be a real Knight, if he doesn't become a Maiden.

The Four Stages of Anima

Jaune's journey through the anima is well conveyed through 4 stages, which stand for archetypical female figures. Each one represents a different level of maturity:

Eve is the mother - The boy has no romantic attachment and sees the woman as a source of protection and nourishment

Helen is the seductress - The boy feels romantic attraction and sees the woman as a talented individual, but pays no attention to her spiritual or inner life

Mary is the virgin - The boy fells mature love and sees the woman as a paragon of virtue, but pays no attention to her negative traits

Sophia is wisdom - The boy is ready for a relationship with a woman as an equal partner and sees the feminine as a source of wisdom with no need to objectify the woman anymore

This scale describes Jaune's relationship with the feminine perfectly:

Eve is Pyrrha - she nurtures and protects him as a mentor and Jaune feels initially no attraction to her

Weiss is Helen - she is Jaune's first crush and he grows enough to see her as a talented person, but can't understand her inner world

Mary is Pyrrha - she becomes Jaune's guide and the embodyment of heroism and virtue

Only Sophia is missing and I think she will be Weiss. In general, though, these phases describe Jaune's general approach to women and how it changes. He arrives at Beacon looking for a girlfriend because that is what a man should do, which in itself is a very childish behavior. Then he grows to see the girls around him as powerful individuals, but he can't go behind the surface. This is true for Weiss, but also for Pyrrha, whose struggles he ignores. After her death, Pyrrha becomes an ideal, but she isn't the only one. For example, Jaune believes Weiss and Ruby can save Pyrrha from Cinder and later on he keeps idealizing them. In volume 9, he learns to let go of his idealization and to see others as their own people. He is stepping into Sophia (wisdom).

MIRROR MIRROR

I looked in the mirror And I gotta say It’s been a long long time Since I felt this way

Weiss and Jaune go through perfect mirror journeys, which are about recognizing others to see their own selves and vice versa. This is why Weiss's mirror mirror motif works so well for them.

They don't know who they are (mirror tell me who am I?)

They realize they dislike their current selves (mirror tell me who is the loneliest of all? I am the loneliest of all)

They work to change (mirror I'll tell you something, I might change it all)

They overcome their narcisism rooted in self-loathing (I'm shattering the mirror that keps me split in pieces)

Now that they can see who they are better, the next step is to probably see others more clearly. This is the secondary theme of the volume, after all: empathy.

Ruby breaks Summer's pedestal and as a result she can see herself better. In turn, this makes her able to look at others in a new light:

Weiss and Jaune do the same. They break Ruby's pedestal and show empathy and forgiveness for themselves and her. Still, this is framed as just the beginning. The theme of empathy is probably gonna be explored in later volumes. This is true for both Ruby's arc and Weiss and Jaune's stories.

Wouldn't it be wonderful if the next mirror mirror song is a conversation not with the mirror, but with another person? A person that is a mirror, but not because stuck inside it like Weiss in the beginning. A person, who is a mirror because every person can be a mirror of another if looked at with empathy. And this is what beating the mirror really means. Not to look at ourselves through it, but to look at ourselves through others. And to accept them. And to accept us.

[vindieselsfacebook-blog]

Meaning/references behind every Gilmore Girls episode title - Season 3, Part 1

Hi friends! It's been a minute since my last installment in this little series I've been working on. I'm trying to make a definitive, clear, concise list of the meanings and references behind each episode title. I'm going season-by-season and filling in references when I catch them.

Some titles are quite obvious and literal, but many are clever references that emphasize themes and symbolism happening in the plot or character relationships. I like trying to figure them all out and wanted to share in case I have some wrong or people have caught references I've missed or didn't know writers may have spoken about, etc. ASP has such a deep well of pop culture knowledge, I enjoy mining it.

Masterlist: Season 1 Season 2, Part 1 Season 2, Part 2 Season 3, Part 1 Season 3, Part 2

My notes: - As always, please correct anything I've gotten wrong and share your own insight! - Many of these notes are pulled from and/or learned via annotatedgilmoregirls.com - an absolute icon! I claim no author originality. I'm just the one to compile/edit them. :) - Season 3 marks the first season that pulls literal quotes from episodes for some of the titles. That was never done in S1-2 at all and 5 times in S3!

Season 3, Part 1

Those Lazy, Hazy Crazy Days Those Lazy-Hazy-Crazy Days of Summer is a popular song composed by Hans Carste. It was originally written as "Du spielst 'ne tolle Rolle", with German lyrics by Hans Bradtke, and was first recorded under that title in 1962 by Willy Hagara. In 1963, it was recorded by Nat King Cole, with English lyrics written by Charles Tobias on a theme of nostalgia. The song serves as inspiration for and the soundtrack to Taylor’s First Annual Stars Hollow End of Summer Madness Festival. In keeping with the theme of madness, a barbershop quartet sings this song on a sanity-eroding permanent loop at the festival. It is performed by Mick Foster and Tony Allen in the show.

Haunted Leg Lorelai catches a cold and wishes for a more exotic illness. “I mean, I’d like to have a good illness, something different, impressive. Just once I’d like to be able to say, ‘Yeah, I’m not feeling so good, my leg is haunted.’”

Application Anxiety Rory has some reality checks and fears about her college application process as she finally receives her Harvard application. Lorelai uses the phrase when telling Rory about the Harvard alumni visit. 

This One's Got Class and the Other One Dyes The title is a reference to a line from a campy classic film trailer for On Her Majesty's Secret Service (a 1969 spy film and the sixth in the James Bond series), introducing Bond’s love interest (Teresa "Tracy" Bond, born Teresa "Tracy" Draco, and also known as the Contessa Teresa di Vicenzo) with the line “Diana Rigg as the Contessa - the different kind of Bond woman. This one’s got class and style.” Tracy is the girl Bond falls in love with and marries (technically he first marries in You Only Live Twice, but as an undercover ploy). She’s the first Bond girl to really show bravery, intelligence, and talent in her own right. She’s also the first to rescue Bond himself. “This one’s got class” has taken on a life of its own as a colloquialism to describe a version of something that’s the best of its kind - a high rating based on grade, quality and perceived worth. Although the title of this episode is ostensibly about the two different plots – Lorelai has to give a talk to a “class” while Lane “dyes” her hair – knowing this context, we know it mostly alludes to Rory seeing herself as the girl with “class”, while in comparison Shane is the one who dyes her hair platinum blonde and engages in PDA, meaning that she isn’t as “classy”. Quite possibly the most literal “not like the other girls” allusion in the show.

Eight O'Clock at the Oasis Midnight at the Oasis is a song written by David Nichtern. It was recorded in 1973 by American folk and blues singer Maria Muldaur for her self-titled album and is her best-known recording. The song is about an offer of a love affair in a fantasy desert location, and is considered to be one of the most sensual songs of the 1970s. It’s the song that plays as an alarm when Rory looks at the clock (reading eight o’clock) at Dwight’s house, which of course he nicknames “The Oasis”. 

Take the Deviled Eggs... Sherry pressures Lorelai and Rory to take leftover deviled eggs home after her baby shower. Lorelai rants on the way home: “’Take the deviled eggs!’ How many times did the woman say it? And then her drunken friends hear it and they’re all shouting, ‘Take the deviled eggs!’” Could possibly be referencing other turns of phrase involving taking a kind of food item. “Take the biscuit” is a British idiom meaning to be especially annoying or surprising or to be the worst or best of its kind. Similarly, to “take the cake” means to have ranked first, typically used to describe something that is very surprising, foolish, remarkable, or annoying. Both of these would describe Sherry’s baby shower. Perhaps even “take the mickey” or “take the piss”, British euphemisms for making fun of someone. “Mickey” is slang for “micturate” which means to urinate. Of course, the girls do in fact take the deviled eggs and end up throwing them at Jess’s car.

They Shoot Gilmores, Don't They? The title is a reference to the 1969 psychological drama film, They Shoot Horses, Don’t They?, directed by Sydney Pollack and based on the 1935 novel of the same name by Horace McCoy. Set during The Great Depression, the film focuses on a group of people desperate to win a dance marathon where they are ruthlessly exploited, and stars Jane Fonda, Michael Sarrazin, and Susannah York. The title comes from the fact that race horses are often shot once they break their legs to put them out of their misery. The film was a commercial success, and is regarded as one of the best films of its era. As in the film, this episode is about a dance marathon - although it isn’t nearly as dramatic as the one in the film.

Let the Games Begin The ancient Olympic Games were first opened in 776 BC with the announcement: “Let the games begin!” In this episode, the “game” that’s beginning refers to both Jess and Rory’s new relationship and Rory starting to consider Yale over Harvard. Lorelai says the phrase before Richard and Emily pick them up to visit Yale. 

Deep Fried Korean Thanksgiving Lorelai and Rory endeavor to attend four different Thanksgiving meals in one day, including Sookie’s which ends up being a deep fried fest thanks to Jackson’s family and the Kims’ which of course has some Korean flair.

That'll Do, Pig During Trix’s visit to the Independence Inn, Emily begins to eat her food very slowly, resenting how quickly Trix wants to rush them along according to her schedule. Lorelai quips: “That’ll do, pig. That’ll do.” which is a quote from Babe, a 1995 comedy-drama film directed by Chris Noonan, produced by George Miller, and written by both, based on the 1983 novel The Sheep-Pig, by Dick King-Smith. In the film, a grateful misty-eyed Farmer Hoggett says this line to the pig Babe after he has, against all odds, won a sheepdog trial, despite not being a dog. One of the most understated last lines in film history, it’s a dignified, restrained way for Lorelai to say Emily is doing very well provoking Trix.

I Solemnly Swear Lorelai is asked to give a deposition in support of Emily’s case against Gerta, her unfairly dismissed German maid. This is where the title presumably comes from, because “I solemnly swear” is how an oath to tell the truth taken in legal contexts begins. Meanwhile, Rory (the current student council vice president) deals with political drama at school between student council president Paris and senior class president Francie. A president’s oath of office also begins with “I solemnly swear.”

[vayneoc]

3, 7, and 30 for the ask meme? :3

the ask game

hi, thanks for asking (｡･ω･)ﾉﾞ

3. comfort food?

Creamy garlic mushroom pasta. Learnt from her family and modified while living at "Casa Welles". Warm, filling without being heavy, and plain delicious.

(yes, she does cook that one for Hanako)

Also cold green tea with peppermint.

7. favourite outfit?

A half-unbuttoned shirt with a heavy coat, semi-classic leather boots and some monotone pants. A few pieces of steel-coloured jewellery, definitely some rings. Something classy enough to look good, but casual enough to be comfortable and easy to move in.

She loves coats and leather jackets, and hates hot weather when she cannot wear one. Partially for them being good for concealing carried weaponry, partially for looking nice and bringing a layer of comfort.

30. ideal partner?

There are two kinds of people: nice, and those who choose to be nice. Vayne prefers the latter. Those who have enough self-awareness not to be blindly good. Who build their power, yet have respect and maybe a little sparkle of hope and belief in people, to over and over again choose to be nice.

She absolutely despises infantile people, those unable to or not caring to be responsible for their words and deeds.

Vayne adores those with a pinch of mischief, cunning, capable of keeping up with a bit of suggestive witticism and throw back her way some jesting allusions.

And she is not casual about her relationship, being quite a romantic at heart she needs someone as romantic, someone sentimental and intimate enough.

u kno who dat is 👁️👁️

[dharshareddy189]

DIGITAL MEDIA: SOURCES AND SIGNIFICANCE

BLOG POST 10

The Role of References and Connections in Video Games: Intertextuality

The concept of intertextuality in video games is truly captivating and intricate! Video games often incorporate and interact with various texts, media, and cultural references. There are multiple ways in which this can occur, ranging from subtle nods and homages to more obvious parodies and retellings.

Here are some key aspects of intertextuality in video games:

Literary allusions: Games may use literary allusions, drawing upon classic literature, mythology, or historical events. This serves to enhance the narrative and encourages players to make connections.

Genre conventions: Games frequently draw inspiration from well-established genres such as fantasy, science fiction, or horror, manipulating their recurring themes and anticipated outcomes.

Homages and parodies: Games can express admiration for other games or media by directly alluding to them, frequently with a comical twist.

Intra-game intertextuality: Certain games use self-referential features, alluding to their own mythology or past iterations.

For Example -

GTA 5  finds opportunities to link dozens of real-world events and also includes References to Movies, TV, Games and Pop Culture, These references may be well-hidden Easter Eggs.

Movie Homages:

James Bond - It might not be one of the fastest cars in GTA 5, but owning not just James Bond’s car, but Sean Connery’s James Bond car is one of the most thrilling aspects of the game. Though it isn’t a car that would be suited to Trevor, the classy vehicle would look great sitting in front of Michael’s mansion.

Heat - The bank robbery mission "Blitz Play" is a clear homage to this Michael Mann classic, with its meticulous planning, high-stakes execution, and chaotic getaway.

Drive - Though Trevor might be one of the best characters due to his mannerisms and psychotic behaviour, he is far from the coolest. Being a redneck hillbilly who lives in a trailer cooking crystal meth and assaulting people for fun ain’t cool, kids.

Intertextuality within GTA:

Previous Games: References to past GTA titles abound, from Trevor's "Ten Points!" shoutout to the reappearance of CJ from San Andreas. Even the soundtrack features music by previous series characters.

Self-Awareness: The game frequently breaks the fourth wall, with characters acknowledging their roles in a video game and even commenting on the absurdity of certain situations.

Parodies and Satire:

Reality TV: The Epsilon Program humorously mocks Scientology and other self-help cults, while "Fame or Shame" mocks reality TV.

Social Media: LifeInvader parodies Facebook, capturing its addiction and celebrity culture.

Hollywood: Los Santos' film industry is shallow and greedy, mocking celebrity life and stardom.

My persepctive - These are just a few examples, and the sheer volume of intertextuality in GTA 5 is part of what makes it so much fun to explore. Players can spend hours unearthing hidden references and appreciating the game's witty commentary on various aspects of our culture.

REFERENCE -

https://www.ign.com/wikis/gta-5/References_to_Movies,_TV,_Games_and_Pop_Culture (ACCESSED ON 10th DECEMBER)

https://gamerant.com/movie-and-tv-references-gta-v/#drive (ACCESSED ON 10th DECEMBER)

https://videogameacademia.org/courses/video-game-studies/intertextuality-in-video-games/#:~:text=In%20video%20games%20that%20borrow,which%20have%20done%20something%20similar. (ACCESSED ON 10th DECEMBER)

[feyinvestigations]

If there is ever an Apollo Justice Musical, Kristoph's genre should be country music.

My Evidence:

1: He plays the violin. its classy yes but it is also the classy instrument that country music most commonly uses. Though affectionally referred to as a fiddle within country music, violins are actually very common instruments within the genre.

2: Modern country music resembles Kristoph thematically! Most modern country is incredibly artificial but presents itself otherwise. This often shows up in how the musicians present themselves as hardworking farmers, when most of them are usually upper middle class at minimum. Similarly, Kristoph presents himself as caring and open when he is really vindictive and self serving. This would not only indicate his two sides nature, but also provide a comedic reprieve due to their contradictory nature of the genre and tone.

3: Klavier's musical association is with Rock Music, which as a genre was initially defined by its sound and its generally anti-establishment views. Country music has very similar origins, which much of the country modern country genre developing from african-american musicians and working class immigrants, especially in the Appalachian Mountains. These two genres are surprisingly similar despite looking incredibly different on the surface, an inverse of Kristoph and Klaviers' relationship as siblings.

4: There are many motifs throughout AA4 that are reminiscent of country music and ballads. The repeated allusions to bets and trickery. Poker is a constant presence throughout the story. Not to mention that the primary relationship of is between a lower middle class hard worker who highly values family (Phoenix) and a Upper middle class lawyer who is not seen to particularly value his family (Kristoph), which are both incredibly common dichotomies within classic country music. ("The devil went down to Georgia" is the first example to come to mind)

5: He's gay and homophobic.

[josephbreed84]

Speakeasies In Downtown Colorado Springs

The term speakeasy was originally coined back in the 1920’s during the prohibition era. Because alcohol was illegal, patrons had to “speak easy” or quietly while drinking at these mostly unknown and illegal establishments. Other unspoken rules and tradition often included exiting through a different door than you entered and perhaps even having a code word when arriving at the discreet entrance.

Today, some bar owners have kept the theme running, with hard-to-find bars tucked in alleys, behind a closed door of a shop, or underground with limited signage. Colorado Springs will surprise you with these local cocktail bars, and you’ll be sure to impress out-of-town guests by visiting one of the downtown speakeasies.

BROOKLYN’S SPEAKEASY | Photo Courtesy of Twisted Alchemy

Brooklyn’s on Boulder, 110 E Boulder St, Colorado Springs, CO 80903

As the longest running and most established downtown speakeasy, Brookly’s is a local favorite. Perhaps because it’s one of the hardest to find because unless you know what you’re looking for, you could walk right by it over and over again.

Pulling back another term from the past, they’ve set up as a fake haberdashery (men’s clothing) store front on Boulder Street between Tejon and Nevada. The small display-window vestibule is the entrance that only about 5 people can cram into at a time. Ringing the small white doorbell will soon beckon an employee to slide open the small slot in the black door and ask how many in your party (don’t worry, there’s no need for a code word). It’s a popular attraction and limited room, so you’ll probably end up waiting on weekends.

BROOKLYN’S ON BOULDER Photo Courtesy of Twisted Alchemy

But perhaps what makes Brooklyn’s even more unique is that it’s actually the tasting room for a small local distillery called Lee Spirits (small in distilling square footage, but growing quickly throughout the state and nation). Lee Spirits makes gin and whiskey (a recent addition), so Brooklyn’s primarily has creative gin concoctions that will make you question if you’re actually drinking gin. However, that’s all they serve. No beer, wine, or anything else – just craft cocktail drinks. But don’t bust it until you’ve tried it. Their staff is amazing at helping you find a gin drink you’ll love based on what type of spirits and cocktails you typically enjoy. And don’t forget to go out the back entrance to the alley so no one knows you were there!

The Archives, 15 S Tejon St Colorado Springs, CO 80903

THE ARCHIVES SPEAKEASY Downtown Colorado Springs

After decades of being open, the popular Ritz Grill finally closed and gave locals two new options within the space on Tejon St. Upstairs is now Colorado Craft Social, a unique Colorado fare restaurant and bar. Downstairs became a trendy speakeasy called The Archives, “serving craft libations and late night food” according to their website. Their drinks tend to have roots in classic cocktails, but a talented mixologist twist make these libations modern day favorites. It’s the largest of the speakeasies in Colorado Springs, and probably the best place for food as most others serve light snacks, cheese boards, etc.

Although you can enter through Colorado Craft upstairs while it’s open, during the late night you’ll have to use the alley entrance just around the corner off Tejon Street from Colorado Craft Social.https://www.thearchivescos.com/

Allusion Speakeasy

Allusion Speakeasy, 323 N Tejon St Colorado Springs, CO 80903

Tucked in the back of Rooster’s House of Ramen Restaurant, you’ll (hopefully) find a discreet door along the back wall. Formerly the location of Sakura, a Japanese themed cocktail bar, Allusion is the smallest of all the speakeasies in Colorado Springs both in staff and square footage. Because of this same reason, Sakura abruptly closed when the head bartender left to work at The Archives and even took some staff along with him. Now, Allusion has twisted the same small space into a totally new concept. In fact, Allusion has one of the best concepts for keeping customer coming back. The theme and concept change every quarter including new cocktails and even decor. Whether you like fantasy, fiction, folklore or much more, you’ll find a theme you like at Allusion. If not, check back in 3 months! https://www.allusionbar.com/

SHAME & REGRET SPEAKEASY | Photo Courtesy of Twisted Alchemy

Shame and Regret, 15 East Bijou Street, Suite C, Colorado Springs, CO 80903

This alley-only access cocktail bar was formerly the 15C Cigar and Martini Bar, which was only recognized by a small blue light over the door. Now, additional windows and signage have been added, but it still only accessible from the alley on Bijou Street, between Cascade Ave and Tejon St.

The low-lit bar (now smoke-free) includes red upholstered booths, which brighten up the mostly black-wall space. Local art decorates the walls (much of it from the Modbo Art Gallery located directly across the alley). Think trendy and classy, but also secretive and intimate like a place you might feel shame and regret later that night based on how many cocktails you indulge in. https://www.facebook.com/shameandregret/

No matter which Colorado Springs speakeasy you choose, reservations are highly recommended, or at least be sure to check their hours. Some speakeasies are only open on certain days as well. As with any craft cocktail bar, take time to enjoy the quality and the art of creating custom cocktails. Most of all, discover something new and bring your friends to one of these hidden gems.

Source: https://www.peakdream.com/2019/05/speakeasies-in-downtown-colorado-springs/ from Berkshire Hathaway Rocky Mountain Realtors Colorado Springs https://peakdream1.wordpress.com/2019/05/15/speakeasies-in-downtown-colorado-springs/

[kierongillen]

Writer Notes: The Wicked + the Divine 1923

Spoilers, obv.

Jamie said that for once, an issue of WicDiv will have more of my prose in it than are in the writers note. I joked that “We'll see about that” but I think I'm actually going to keep this one relatively tight. There is a lot of allusions and nods, and if I start doing the full Jess Nevins League Annotations, it's going to take forever, be over-explaining the joke and generally come across as a bad look.

The 1923 special was one of the logical pantheons to go back to, not least as the implicit floating question of “Who the hell were those four people at the start of issue one.” Not that alone made it happen – hell, maybe to the contrary. WicDiv is so big in historical implication that half the way it works is by implication. You choose a detail, and let the imagination populate around it. This nervous stand-off between saying too little and saying too much is very much a core balancing act.

I've had people ask what I knew about them back in issue one. The core, necessary stuff. The nature of what led to the suicide pact, the Gatsby-ish setting and the emotional underpinings between the four – Susanoo and Amaterasu's divine bro-sis complications, the history with Amon-Ra, the broad strokes of their personality, what movement in art they were representing, etc. But stuff changes, and lots of stuff added.

I forget where the core idea came from, but it was there and immediate and obvious in its “Oh yeah – that's clearly something that is intellectually and artistically valid, and also dumbly hilarious.” Which is very much the go-to WicDiv move. The way I described it to people was “Agatha Christie's And Then There Were None, but with a bunch of modernist figures getting bumped off. Theme of high art versus low art, the birth of the 20th century culture, the war, etc.”

Details added to that – the gods' suicide pact to try and avert WW2 – which started to lead to the gods we wanted to cast elsewhere. A number of figures who echo with the war interestingly – Orwell, Hemingway, Piccasso started to appear in there. There were figures I just knew I wanted – Woolf, etc.

The form came there – I had the idea of being a prose/comics hybrid early, but resisted it, because I knew it would be a lot of work. I say that not out of laziness, but out of simple possibility. In the end, I was right – there was no time to do this along my usual workload, and I ended up working over the Christmas holiday to write this. I had Christmas off, but otherwise, I was with the gods. Still – it was done quickly. As the lady says, “The deadlines were crushing”

The other options were to do in multiple issues. I found myself thinking that two issues may work – and that idea was before the Christmas Annual. That was rejected, as I was aware that while it wasn't laziness, it was to some degree cowardice. A prose/comics hybrid was the right idea to support the story. Commit.

So we did, and I started playing for time. There is a lot of research – obviously involving reading a bunch of the relevant figures, not least Christie to think of structure. I was picking my cast, and seeing how they fit together, and so on.

There was a problem. I still didn't have a plot. What were these gods doing?

At which point, on the suggestion of a reader on twitter, I read John Carey's The Intellectuals And the Masses and the scales fell from my eyes. Of course. I've been so blind.

The book is a gleeful, sustained and viscous intellectual evisceration of high Modernism. Much of it I already knew, but this specifically argued case made me realise the obvious: intellectually speaking, a bunch of them were fellow travellers with totalitarianism and had nothing but disgust for the common person. In other words, in WicDiv's universe, it made me realise I could step past my actual admiration for many of the figures in question and just follow those implications through.

And suddenly, there's the plot rather than the concept. In my head, I was thinking everyone would be very anti fascism. By realising some of them wouldn't necessarily be (or, at least, “Hey – it won't be that bad, and what really matters is art and the people who can actually appreciate art”.) I have multiple sides with multiple questions and a bunch of place to explore.

At which point, we needed our artist. Aud worked with Al on the Ultimates, which was my first extended exposure to her bar individual bits of art – we loved it, and thought she'd be perfect. We approached her, and she said yes.

At which point, the problems of scripting. I played with time to actually write the prose to get more and more research. The script I wrote her had the comic pages, but only included a synopsis of what happened in the prose bits, so Aud could follow the narrative. I'll include one of them later in this to give you an idea. The point being – the structure, and the primary clues (and red-herrings) were in existence at that point. I just had to execute them. I could put that off.

I did.

I ended up actually writing the prose two months after Aud got the script, so I had all her pages to look at while working. This obviously led to a lot of inspirational material back and forth. There's a few problems – some fun ideas I had in the process of writing aren't ever shown in the art, and some areas where I had to write around a problem. But some of those writing around a problem led to some of the more memorable bits in the story.

It was fine. This is a dense issue of WicDiv. I did the math, and I think in terms of material, you'd be pushed to do it in any less than 4 issues without compressing, and maybe even five. However, that was necessary to be what it was required to be. It was a dragon, and we killed it.

Here's a section from the opening letter to Aud, which basically speaks to the core intent...

The mood is basically an Agatha Christie Murder Mystery. This is pulp and light. It just happens to star riffs on some of the most intellectual writers of all time. As such, we kind of mock them. They're trapped in this kind of story – and this story kills them all.

At the same time, this is a story about form. What is comics? What is prose? Is illustrated prose just a comic with a really big caption? This is arguably the most modernist issue of WicDiv that we've ever done. As such, we're saying the exact opposite to the above as well – that we are the successors to these geniuses, and this is our ultimate tribute to them.

My tongue is in cheek with the above, but perhaps less than it should be.

I smile. There's a lot about this issue that makes me smile. And readers too – it went down in basically the most optimistic scenario it could have been. We knew that there would be some people who just rejected it due to the comics/prose hybrid form – and hell, I don't even necessarily think those people are wrong to do so. However, with a handful of exceptions – none of whom were reviewers – the only people who didn't like the issue were those who rejected it because of formal reasons.

I admit, this has led me to unpacking why people did, and some theories will come below. I also get the feeling this is an issue which I am at risk from taking the wrong lessons from.

Let's do this.

Jamie Cover: Minimalistic, clean, book cover. Instantly classy. Instantly foreshadowing That Fucking Lighthouse.

I notice the $4.99 price here. Yeah, we decided to sort of stack the odds in people liking the oddness. This is a lot of content for five dollars. If people like the way I think, you get your money's worth.

Aud's Cover: In giving Aud a brief, I wanted to do a scene which we likely weren't going to see inside. Plus the final cast hadn't been sorted out at this point, so we wanted to do something with the four figures from issue 1. As such, doing Amaterasu and Susanoo in a waltz among the living light dead struck us as fun. Aud wanted to integrate the title, which also works well. The doomed romance of the pair of them is certainly a key nature part, and felt good to foreshadow here.

Image Expo Cover: This was done far later than the other ones, and is so good we tried to work out if there was a way of switching it with the main cover. Alas, too late. This is inspired by Weimer Pursell's World Fair poster. Jamie is almost unrecognisable in style due to the lack of classical inking. I especially like this as it shows Lucifer on the cover, which obviously adds to the impact when we kill him.

IFC

The headshots were done last by Aud, after she done the rest – it was a “If we have time, it'd be good to do this too.” We played with some ideas for using them in different places (perhaps even as far as topping each bit of prose) but decided that was too much. That we go in deep with the prose at the start causes big problems. Oddly, my main take from reading Christie is how the opening of the books are the hardest parts – they're trying to set up so many characters, and I had a tendency (especially with my somewhat loose relationship with names) to lose which dude was which dude. That was always going to be a sticking point in this issue, so I felt a Dramatis Personnae to open would work as a visual anchor to the cast. “Dionysus? Who's Dionysus.” <Flips back> “Ah!”> and then back in.

Lovely design here by Sergio. I'll want to rave about Sergio throughout, but let's say it here loudly. This is amazing work.

Okay! The gods. Let's do what everyone's been asking for and saying who's influenced by who. Or at least, broadly.

Part of the reason why I wanted to do 1923 in prose was it would give the opportunity to have all 12 gods. The specials have gone down well, but there's been a regular undercurrent of “We want to know more about the others”. In 25 pages, that's not going to happen, at least in any way which is useful. We have to focus to some degree. In this case, for once, we wanted to give a full image of a full pantheon, just to show how it worked in another period – and with that, a readers' imagination can populate others with more guidance.

Secondary issue: while I've been describing the comic as “Modernist poets in an Agatha Christie Murder Mystery” that clearly wasn't true. We'd already shown four gods from 1923, so it clearly couldn't just be modernist poets. Of course, this is the theme – high art versus low art and the various different approaches to the gods is key.

Essentially, the 1923 pantheon is half way between the 1831 and 2013 pantheons in approach, with elements of both. As a mid-way point between the two, that seems to work. The gods that hark to the future have an approach more similar to the 2013 pantheon. The defeated gods have an approach which has a little more to the past. It's more complicated than that, and there's obvious exceptions, but that's what the backbone is.

So some gods are based on an archetypal sort of creator or artform, with a few nods to specific things, (Amon-Ra, Susanoo, Amaterasu, Minerva, Baal) while others are inspired an actual figure with a few grace notes from elsewhere (Neptune, Dionysus, Morrigan) and others are inspired by a creator merged with something from their fiction (Lucifer, Norns, Set). And then there's Woden, who isn't a god, so the rules change.

I swapped “based on” for “inspired” just now in the above. WicDiv may be inspired by figures, but the real figures also exist in the world of WicDiv. This gives us the narrative distance required to do what we do with them.

So, from the top, and in broad strokes. If you want more of the indirect influences and some theories, I think TWATD has the best round up.

Baal: One part of the conspiracy. Researching the period, there is a lot of white elitist dudes of various stripes, and Baal ends up being them all. In terms of actual references, there's a lot of TS Elliot in there, but there's strong notes of Ezra Pound and the big reference only a few people have spotted is Wyndham Lewis, who I think provides the majority of the look. I'm not sure Jamie was thinking of that explicitly, but he wanted to definitely have someone who looks like an elitist. Of all the older-gods, he's the broadest and most archetypal, and that's because there's a lot of this sort of guy, and it felt like repeating the same character multiple times. It's also a pretty white pantheon anyway.

Amaterasu: The concept of her in issue one was “all of Dramatic Film”. As such, she recalls a lot of early movie heroines. In terms of her powers, she recalls Georges Méliès in several places. I wasn't aware of The Four Troublesome Heads at the time of writing, but I really wish I was.

Lucifer: Fitzgerald meets Gatsby.

Susanoo: If Amaterasu is dramatic film, Susanoo is comedy. Biggest influence in terms of me thinking of how he moves is Buster Keaton, and for me, Susanoo's movement was the thing that was always on my mind.

The Morrigan: Primarily Joyce. Jamie using the later-period Joyce eyepatch is one of my favourite notes in all of this, but Aud just makes him sing as the bedraggled writer. He's a heartbreaker. He's notably the Modernist who is against the Modernists' elitists and topics, which is one of the beats to complicate things.(Random quote from Woolf on Joyce: “a self-taught working man, and we all know how distressing they are, how egotistic, insistent, raw, striking, and ultimately nauseating.”)

Neptune: Hemingway, with a few random grace notes from Nemo. I smile at “Sea god. Short sentences.” I had far too much fun writing Hemingway parody – the active character with the active voice.

The Norns: Wells, Huxley and Orwell, with grace notes in Little Brother from all their books. The idea of a triple-god who are all Future was the core of it, and I yelped in excitement.

Set: Woolf meets Orlando (which basically means it's Woolf meets her literary love portrait of Vita Sackville-West). Her historical-anecdote-for-any-occasion twitch comes from Orlando done in the style of Baron Munchausen's loving hyper-parody, but I can't deny it does come off a little like Tahani from the Good Place. The Set from Bloomsbury is my favourite pun in the issue, not least because people either get it immediately or just miss it completely. The figure I'm least comfortable with throwing under the bus, but I've already written her as a hero figure in Uber, so it probably evens out. I also remember things like the quote from the Morrigan above, which as a self-taught nauseating working man, does tend to soothe things somewhat. Like the Baal, her position is less being pro fascism (and Set is distinctly less pro fascism than Baal) and more a complete lack of interest in anything which isn't art. It's definitely one when the “inspired by” distance is key.

Amon-Ra: Embodiment of Jazz and Blues – primarily blues – with a little of the Harlem Renaissance. Most of the tiny nods are Robert Johnson ones.

Woden: Most of the visual language is are from German Expressionism (most obviously Fritz Lang) and the political beliefs (to state the obvious) Nazism. Like 2013 Woden, Woden isn't a god. He's a god who's killed someone and stolen their place and turned it to his own awful ends. When researching Uber, I found people like Hitler difficult to get on a human level. I've never known anyone like Hitler. Conversely, Joseph Goebbels? If you take the guy in his 20s propping up the the bar talking about how he's working on his novel and add virulent anti-semitism, then you basically have Goebbels. You can almost see him shiver in delight that he murdered his way into controlling art in his country... but there isn't a note of art in him. That's basically Woden. He's appropriated the art of a country at gunpoint. He looks like a villain, but even that look isn't his, and his villainy more profound. He would rule a people through sound and light. As Morrigan is the Modernist against Modernist's elitism, Woden is the Populist Against The People.

Minerva: Child-star archetype generally, Shirley Temple specifically. (I just typoed “Shirley Crabtree.” Now that is a very different look) In terms of personality though, I found myself falling into a slightly frenzied Enid Blighton Famous Five-ish voice.

Dionysus: Picasso as living Guernica. As good a place as any to mention the time-mashing in all of this – basically, the Spanish Civil War experience was moved from the thirties to WW1. That's the sort of editing we do with the figures. This is about (broadly speaking) “Between the wars and what that felt like, and giving birth to the 20th century.”

I lobbed a bunch of ideas at Jamie, and he did full body length plans for each. We'll probably include them in the trade when we get there.

Page 3-5

Right – 3000 words in and I haven't started the story yet. Things are going to be looser now – most  of the thinking is above.

The second two pages were originally written as a splash, but Aud wanted to do it widescreen. I originally WANTED it as a two-page splash, but I didn't have the space to spare, so this re-creating it pleased me. Obviously this sets out the visual location of the whole story – here we have the island, here we have a lighthouse, etc.

Aud suggested doing it in a limited palette form, with the ink washes, and we clearly loved it. When actually describing the sea in the text bits, I was trying to evoke these actual seas, which is a fun way to do interplay.

But yeah – it's our “Here's Ananke.” As I suspect many have noticed, the specials main connective tissues are Ananke and Lucifer. The backbone of the specials trade is the meetings of Anankes and Lucifers across the centuries.

The “This will have to be my masterpiece” is lots of fun. I suspect this is how Christie felt about And Then There Was None. It's interesting that in all the conversation around the issue I haven't seen anyone realise that Ananke is Christie – some kind of demonic Miss Marple figure, writing the plot. It's also the first red herring. Clearly we know Ananke is a murderer at this point, so she's always the logical suspect. The story is based around flirting with that, stepping away from that, then stepping back to it.

The title was decided late – literally when this page was being laid out. I felt it was a little too obvious, but decided it was just obvious enough. Layout minimalistic, clipped, recalling both books and film (especially of the period). It's the first of that sort of thing, and far from the last.

Page 5

We initially decided we didn't need the icon page. We didn't think we'd have space.

Then the do-a-splash-as--two-pages actually created some problems, in terms of leading to all the early death reveals to be on the right. We were in a position of either padding the first text section by a page (and when that was long, it felt bad) or strimming it (which is bad, in a different way). Then we did some math and realised if we had an interstitial here it would actually bring us to the exact 56 pages.

So Jamie did the icons and everything became perfect.

Here he picks up the Art Deco from issue 1, which is a delight. Much to love here – I think his personal favourite is Dionysus' icon, which is understandable, as that's just awesome. I'm glad we actually found space to do this – yes, part of the book was showing a complete pantheon... but a pantheon isn't really complete until you see their icons.

In other notes, I'm considering using these icons as shoulder transfers for my Space Marine chapter.

7-12

Chapter 1!

Here's the synopsis of what I wrote in Aud's drawing script...

This is basically a series of short chapters, ala the opening of AND THEN THERE WERE NONE (but shorter), introducing the various parties making their way to the island. I suspect they will be three, who will be...

The first ship reaching the island – Dionysus, the Norns, Woden, Morrigan, Minerva, Neptune. Possibly two ships. We set up some key relationships here – at least, Morrigan and Minerva seem to be getting on.

The Awesome Egyptian-mode approach carrying the Egyptian gods. It belongs to Set. Baal tells Amon-Ra Set is getting reading ready, before Amon-Ra then teleports down to the island, having seen...

...Amaterasu/Susanoo's approach, setting up their own somewhat populist beliefs in art (and light) and their fear they may be in an incestuous relationship. Amon meets them.

(Regarding teleportation: the gods have their selection of appropriate abilities to their archetypes – it's perhaps worth noting that the “Good” gods in this story tend to be sun or light gods. In the 2014 pantheon, the underworld gods tend to be the “Good” ones.)

One of his servants – made of living light, projected from the house – tell them that the final gods are arriving now. “Give them five minutes, then send them down.” Alone, drinking, he muses on all he's done to build this place? Will she finally be impressed with him?  Someone arrives. He asks “Does this impress? “They smile, say it's perfect and for a second he's happy, before they click their fingers.

So there's the shape of it there, especially the key beats – it's enough for me to know there IS a solution.

This is the longest of the prose sections, and unavoidably so. The first movement of a Murder Mystery is to reveal the cast. It's also the longest section anyway – we start primarily in prose and we move towards primarily to comics. Prose is high art, old europe, etc and comics is low art, the new world, etc.

In terms of prose style, I weighed up what to do. I started thinking a pure Christie homage in actual prose, but backed away – it's a fun card trick to show, but I think it'd be less satisfying to the reader (who may or may not like Christie), and more easy to fuck up (So high risk for little reward). So structurally it was based on Christie, and instead the found a voice I found fun – a little period, but also a performance. And far too reference heavy for its own good. But Fun.

Fun is a key thing. The more I decided to be playful with the book, the better it seemed to work. As said, this is a key WicDiv stance. I haven't re-read it in detail (and I'm only skimming now) but I'm not too angry with what's here. That'll do.

The d____ was one of the Christie stylistic choices I chose to keep for period. It's fun.

Morrigan basically speaks in stream-of-consciousness parody throughout, including bits of Joycean scripts. Part of me was tempted to do the ““MORRIGAN: (softly). Aye.” said Morrigan, softly.” joke throughout. I can imagine Neptune wanting to punch him for the adjectives, evidently.

Hmm. Yeah, I'm sitting here thinking “I really don't need to say much about the prose sections.”

Page 13-14

The structure is key visual and plot relevant scenes are played out in comics. The stuff you need to see and we want to show you.  Plus, abstractly, I suspect someone could just read the comic pages and get the core of the story.

(The things are prose are also things which are inefficient in comics – drawing room discussions are rarely riveting visual prose, and nightmarishly tricky to do with a large cast. Not that it's impossible – see THE WATCH chapter in Imperial Phase)

I like Ananke's complicity-inducing glance-to-read in the fourth panel of thirteen.

I do like the Butler.

And the reveal! These splashes were considered a bunch – my original idea was actually to have them in a frame, to REALLY AGGRESSIVELY make them works of art, and turn it into a gallery wall. In the end, the distance from reader seemed too much, and we went a way which took a lot of it in (as in, we're still looking at an image, the caption is designed to evoke a plaque in an exhibit, the caption of the prose also a framing in art) but just let Aud be Aud and blow people away.

So much here  - First appearance of a non-sepia cover. I wish I did something with that apple too, for the full Lucifer-in-Paradise.

Page 15-18

Chapter 2!

The Metropolitan are definitely the great-lost-visual from the issue. Clearly, the robot from Metropolis as a servant.

Honestly, getting the cast to go at each other here is fun, in the dual conversation of what they're talking about (the murders) and what they're really talking about (Art). Also, they're mostly funny – some I like more than others, but when doing the prose, I rapidly found how much I enjoyed doing these affectionate mockeries.

Skimming through this, I'm considering who the lead actually is. In some ways, obviously, it doesn't have one – in my head, the Norns are the lead, and Verondi, specifically, but I suspect Susanoo is the moral and human backbone of it. People seem to like him too: everyone loves a sad clown.

19-20

See – this is where the “comic pages alone are still readable.” As in, we specifically show the core clues you need to know in the comics. There's other clues in the prose, and there's certainly red herrings in the comic (Ananke's sinister nature is played up).

I really like how Aud does the Butler here, which is good, considering it's the last we see of him – that fade in between the second and third panel.

Yes, page 20 is probably the most PAINFUL pun in the issue.

21-24

Chapter 3!

Man, the small change which nags at me most which I may change for the trade is Woden saying “We're not too different. Perhaps... two-thirds different.” Clearly, it should be one-third different.

The word “posset” is my tribute to The Box Of Delights, which is a traditional Xmas watching in my house.

25-26

And the last two pager – prose firmly dominating as the old world dominates the plot, to state the obvious.

Oddly tricky first panel to letter – I kept on trying to get a BIG BROTHER WATCHING YOU joke into it, but it always felt clunky. Or rather, clunkier than normal.

The red seaweed is a lovely touch for Neptune.

27-28

Pace-pace-pace. Neptune not being able to swim is, I suspect, my favourite character beat. Masculinity is one hell of a drug.

This whole sequence I imagined Ananke as a passive-aggressive Sherlock Holmes pretending to be Watson.

29-33

And Set giving serious pose at the end of 29. Well done, Set. You've risen to this occasion.

Quiet tension leading to violence. Honestly, I really like the My Chemical Romance vibe to the Norns – Verondi is very much the star here.

First appearance of the full on screen interstitial card – obviously saving the full explanation until later, nearer the climax, but the edging into comics formalism aping period cinema necessity.

I think the most chilling of the death scenes is this one.

34-35

Chapter 5

Always the shortest of the interstitial texts, this expanded with the end of Perhaps the biggest change from the synopsis was bringing forward the Amon-Ra/Amaterasu/Susanoo plot as the counter-plot to the issue. It was a case of me realising it served as a distraction, but also a useful human arc to them. I wanted to see it. If I wanted to see it, it implies that the reader would too.

Obviously Minerva is the player to watch at this point. I'm reminded of one of the minor influences  on Minerva – namely, Alice of Wonderland fame. I say the core stuff earlier, but there's a bunch of that kind of thing.

Really nice how Sergio fills the half page at the end of this sequence – as I've said on twitter, it's interesting that many people have said “Most” of the comic is prose. That's not true – the majority of the book is comics. Prose just takes longer to read in the same given space. For readers, I get it, but it did grate slightly when reviewers did it. Basic fact-checking is the basic minimum.

36-39

We finally get Morrigan' dialogue in comics form – it was the first Morrigan wrote. Courier seemed the right choice.

I laughed when writing TO THE LIGHTHOUSE. No, this is not what Woolf was writing about.

40-42

Chapter 6.

The Modernists' last flourish – I was considering doing this section in the style of From the Lighthouse, with the floating perspective and virtuoso parenthesis use, but decided it wasn't worth the risk. Even if done in the parodic style, it's still a huge risk, and not necessarily one which will travel to more than a proportion of the audience. Plus, this is the Explain Everything To The Readers bit, so we really do want it to be clear.

I did consider going back to it at the last minute after I had done this take, but decided against it, in favour of a heavy smattering of Modernist injokes. Most obvious is that Orlando opens with Orlando playing around with someone's decapitated head.

43-49

And the climatic fight scene!  Where things get sillier, but also more pointed. The ironic distance is opening up again with the cards.

“It's not all fine” a flirtation with WicDiv's core “It's going to be okay”

I kind of admire Susanoo's determination to pretend it isn't all this bad.

Aud suggested the multiple panels on 43 to show the disappearing of the light, which is a good call.

I also feel a little iffy about the quasi-Wells of Urdr – he's a mess of faults, and certainly was fond of many of these ideas, but he also was an avowed pacifist. I suspect he's the flip of Woolf – she got her hero spotlight in Uber, and now we get a twisted take. He appears like he does here, murdered after he gets in over his head while not realising what was actually happening, and is someone considerably more heroic in Spangly New Thing. But you'll have to wait for that, right?

Set's blowing of them apart is A+. And the dagger-twist of the core quote of Room of One's Own is... well, it's hyperbolic, but if you read Room, it's absolutely there. Room is an economic argument as much as anything else.

The final sequence being a Keaton-stunt married to pure-cinema-magic train creation (a nod towards the famous L'Arrivée d'un train en gare de La Ciotat which reputedly had people running out the cinema as they thought a train was going to hit them).  Metaphorically, a lot of people were like Baal here. They got run over too.

There were some dialogue tweaks here to ensure clarity – Minerva's “Goodbye Set” to ensure it was clear it was Set who was alive.

50-52

Chapter 7!

If I went the FULL HOMAGE route, if Chapter 6 was going to be a To The Lighthouse homage, the first section of this would have been written as a screenplay while the second bit would be written like a propaganda news report. Ultimately, I don't think we needed to disrupt the reader any more than we already did.

Especially as clarity here is absolutely the key thing – we have a statement in Chapter 6 of what Set/Baal thought they were doing... and now we have a different reading presented by Ananke to the gods of light and then ANOTHER reading of what Woden thought he was going on with the Zeitgeist which is then immediately undercut by Ananke.

The key thing was making the mystery of it as plain as possible – we give you what we can, and then underline the fact “Perhaps someone will work it out” of it.

(Minor detail here, ala Alice – Woden gets  Lovecraftian nod with the Colour Out Of Space)

Ananke's last lines came to me as wrapping it up, and one of those “Yes, this is exactly how to end this)

I suspect for all the monstering of the modernists, there's more of a fundamental ambivalence than you expect. If given a choice between Art Elitism and fascism or populist arts and advanced consumerism, I'd choose the latter... but doesn't mean the latter is ideal, especially when it's clear how all the gods of light have been played as much as the literary gods. As always with WicDiv, we're not really interested in easy answers.

53-54

And once more we return.

Back tomorrow, where Mothering Invention kicks off.

Thanks for reading.

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Earth Day is now a global event Save A Lot Girl Classy Sassy And A Bit Smart Assy shirt . each year in the U.S. and all around the world. It`s a day of political action and civic involvement. People plant trees, clean up their cities and sign for petitions. Corporations and governments use it to make agreements and announce sustainability measures.The theme for Earth Day 2019 is “Protect our species”. The unprecedented global destruction of plants and wildlife are directly linked to causes driven by human activity. Either is climate change, deforestation, habitat loss, pollution and so on. If we do not act NOW, extinction may be humanity’s most enduring legacy. All living things have an intrinsic value, and each plays a unique role in the complex web of life. We must work together to protect threatened species. Bees, elephants, whales…just to name a few.The good news is that the rate of extinctions can still be slowed. Endangered species can still recover if we take immediate action.T-shirts were always an instrument for self-expression. Political movements, protests, resolutions…you name it. So, Earth day tshirts are a must for the event. Those tshirts speak by itself and they do it loud. You have plenty of options online, in this case our fav is TeePublicAndy Warhol art style is iconic for the pop art movement. He was famous for exploring popular culture in his work, using brands like Coca Cola and Campbell’s Soup.This new style of art that had begun in England in the mid-1950s and consisted of realistic interpretation of everyday items. Save A Lot Girl Classy Sassy And A Bit Smart Assy shirt, hoodie, sweater, longsleeve and ladies t-shirt

Classic Ladies

Hoodie

LongSleeve

Sweatshirt

Unisex He loved bold and flashing colors and silk screening techniques to mass-produce artworks based on photographs of celebrities, like the one of Marilyn Monroe Save A Lot Girl Classy Sassy And A Bit Smart Assy shirt .Andy itself had a confident style, wearing leather items and oversized sunglasses together with his big white hair.Warhol began with Coke bottles and comic strips, but his work wasn’t getting quite the attention he wanted.In `61 a friend gave Andy an ida: he should paint what he liked most in the world, maybe something such as money or a can of soup. Warhol painted both.Warhol’s first exhibition in an art gallery came in 1962 in Los Angeles. He displayed his canvases of Campbell’s soup, one for each of the 32 types of soup made by the company. So, the vanguard of the new pop art movement begun. He saw art as a product, and that was a new and revolutionary perspectiveWarhol’s studio was called The Factory, as an allusion to the mass-produced nature of his artworks. You Can See More Product: https://hottrendtees.com/product-category/trending/ Read the full article

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Save A Lot Girl Classy Sassy And A Bit Smart Assy shirt

Earth Day is now a global event Save A Lot Girl Classy Sassy And A Bit Smart Assy shirt . each year in the U.S. and all around the world. It`s a day of political action and civic involvement. People plant trees, clean up their cities and sign for petitions. Corporations and governments use it to make agreements and announce sustainability measures.The theme for Earth Day 2019 is “Protect our species”. The unprecedented global destruction of plants and wildlife are directly linked to causes driven by human activity. Either is climate change, deforestation, habitat loss, pollution and so on. If we do not act NOW, extinction may be humanity’s most enduring legacy. All living things have an intrinsic value, and each plays a unique role in the complex web of life. We must work together to protect threatened species. Bees, elephants, whales…just to name a few.The good news is that the rate of extinctions can still be slowed. Endangered species can still recover if we take immediate action.T-shirts were always an instrument for self-expression. Political movements, protests, resolutions…you name it. So, Earth day tshirts are a must for the event. Those tshirts speak by itself and they do it loud. You have plenty of options online, in this case our fav is TeePublicAndy Warhol art style is iconic for the pop art movement. He was famous for exploring popular culture in his work, using brands like Coca Cola and Campbell’s Soup.This new style of art that had begun in England in the mid-1950s and consisted of realistic interpretation of everyday items. Save A Lot Girl Classy Sassy And A Bit Smart Assy shirt, hoodie, sweater, longsleeve and ladies t-shirt

Classic Ladies

Hoodie

LongSleeve

Sweatshirt

Unisex He loved bold and flashing colors and silk screening techniques to mass-produce artworks based on photographs of celebrities, like the one of Marilyn Monroe Save A Lot Girl Classy Sassy And A Bit Smart Assy shirt .Andy itself had a confident style, wearing leather items and oversized sunglasses together with his big white hair.Warhol began with Coke bottles and comic strips, but his work wasn’t getting quite the attention he wanted.In `61 a friend gave Andy an ida: he should paint what he liked most in the world, maybe something such as money or a can of soup. Warhol painted both.Warhol’s first exhibition in an art gallery came in 1962 in Los Angeles. He displayed his canvases of Campbell’s soup, one for each of the 32 types of soup made by the company. So, the vanguard of the new pop art movement begun. He saw art as a product, and that was a new and revolutionary perspectiveWarhol’s studio was called The Factory, as an allusion to the mass-produced nature of his artworks. You Can See More Product: https://hottrendtees.com/product-category/trending/ Read the full article

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NaNa (feat. Action Bronson) Song Lyrics –

NaNa (feat. Action Bronson) Song Lyrics

NaNa (feat. Action Bronson) Song Lyrics From Popular Hollywood Artist from Acid Rap Album.

This song is sung by singer ” ” in Year 4/30/2013.

Lyrics of NaNa (feat. Action Bronson) :

Na na na, na na naNa na na, na na naNa na na, na na na(IGH!)Introducin’ Chance the Ruthless, trip ‘shrooms and lucyDreams is lucid, loosely based on music, swallow my mucusHope your pussy get herpes and yo’ ass get lupusDeuces Douches, deuce deuce I’ll shoot ya (BANG!)Shoes might boot cha and a suit might suit chaThey be on bullshit but they really don’t do shitThey use of allusion could confuse ConfuciusNasty, ashy, cigarette ashing, ’til my voice get raspyLast week suspended, last night kissed Va$htieParleyed with Ashley, always in the hallwaySo I never been classy (Ha ha ha)Shut up!Na na na, na na naNa na na, na na naNa na na, na na na(IGH, IGH, IGH, IGH!)Acid, Acid, get it? Acid, melts through plastic, I spit firedPad my palette, talkin’ paper if this was work, I’d get higherPardon my mishaps, burp and get murderedFart and get bitch-slapped, like bourbon mixed with JackLickety-split, look it! He slipped on a shellFrom peelin’ banana splits back, give me my Kit-KatDon’t break me off shit, batch, fack is you mean bitch?Zan with that lean bitch, zan with that lean bitchZen with that chakra I eat it like Idi AminYa kna wha’ mean, hit me back when that mean shitNa na na, na na naNa na na, na na naNa na na, na na na(IGH, IGH, IGH, IGH!)Introducin’, it’s BronsonlinoWith my hair slicked back, I look like Rick PitinoThree Japanese dykes in my El CaminoLettin’ trees blow, ohI rep the East CoastI got a team of hoes like Pat SummittI look like Arnold Schwarzenegger in a black hummer(Get to the chopper!)I splash summer like a fast brother, with a number on his backAin’t no fumblin’, in fact, I’m back, acid in my hatShoot, then pass the gatIt’s at the bottom of the river in a plastic bagMy new shorty got a gymnastic back’87 emerald green on a classic jagShe had the cleft palate, I ordered chef’s saladShe had the club foot, with that little armI couldn’t help but laugh, she ordered Chicken ParmI had the full Bulls warm-up with the Pippens onSuck my motherfucking dickIt’s the young Randy VelardeQueens, babyBlow me

NaNa (feat. Action Bronson) Song Lyrics

Youtube Channel Link

Lyrics, Acid Rap, English, Hollywood, NaNa (feat. Action Bronson) from WordPress https://ift.tt/2z3NlYe via IFTTT

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‘Hydra’ cape and jumpsuit, Cucculelli Shaheen