#conflict in utopian storytelling

[solarpunkpresentspodcast]

The 2024 Solarpunk Conference is almost here! It's on Saturday and it's totally virtual. Christina and I are gonna be there talking about conflict in solarpunk fiction with some extremely rad presenters; I highly encourage you to check it out!

@solarpunkmagazine

[alpaca-clouds]

Solarpunk Storytelling - And People Who Have Never Read A Book (apparently)

And once more I am back at the topic that maybe annoyes me the most of all when it comes to "white people having bad opinions about solarpunk". (And yes, let's face it, most of the people are white.)

And that is people that argue like this:

"Uhm, actually, how are we supposed to bring in a conflict if it is not about the utopian solarpunk world hiding a dark secret?!"

To which I will always have to assume that these people are not in fact familiar with the concept of books, movies, series, or stories in general, and have not consciously ever consumed a story at all. Because otherwise I cannot fathom how one could come to this conclusion.

Because here is the thing: Most stories out there have a conflict that does not involve a government having a dark secret.

Unbelievable, right?

Escuse my sarcasm in this, but I really just find this argument so silly. I mean, Lord of the Rings most certainly does not draw its conflict out of any government hiding a dark secret. Nor does any of the Sherlock Holmes stories. Titanic is a very popular movie not building around the concept of a dark government secret. And... Ugh, I don't know. Forrest Gump and Fight Club are two very popular movies, that I don't like, but in fact do not work around a dark government secret as a conflict. Nor do my favorite Fantasy books: The Magic Castle trilogy (that includes Howl's Moving Castle) and The Witcher series.

You will find there are a ton of stories out there not focused on a dark government conspiracy. In fact those conspiracies tend to be a feature of only certain subsections of genre fiction: thrillers and dystopian fiction. And obviously especially dystopian thrillers. Which is why it is so common in the original punkpunk genre Cyberpunk: Most Cyberpunk stories are dystopian thrillers.

But Solarpunk is not Cyberpunk. And you can tell a lot of different stories that do not feature those kinds of conspiracies.

What those people do not really seem to grasp is that at the very core fantasy, science fiction, and all the punkpunk genre actually do not quite describe the sort of story you tell, but just the setting. Think about it: High Fantasy does not say anything about what kind of story you can expect. Sure, a lot of High Fantasy is either a war story, or an adventure story, but I have read high fantasy thrillers before, just as I have read one really cool indie mystery story that was high fantasy. Same with Urban Fantasy. Are most Urban Fantasy novels some sort of detective novel often with a strong romantic/erotic subplot? Sure. But I have read Urban Fantasy horror, pure Urban Fantasy romance, and Urban Fantasy adventure stories. (In fact I wrote an Urban Fantasy pirate adventure myself.)

Same with the other punkpunk genres. Yes, most Cyberpunk is in fact some sort of dystopian thriller. Some are more action heavy, others are more mystery heavy. But I have seen Cyberpunk erotica, Cyberpunk adventure, and Cyberpunk drama novels. Sure, they always tend to have dystopian subtext, because Cyberpunk worlds are dystopian - but... It is not the central theme in those stories.

Steampunk is maybe even stronger in this. Because I have seen I think any genre in Steampunk before. Romance, adventure, mystery, action thriller... I have seen it all. And I do not even like Steampunk particularly!

So, I really have to wonder: Why in the world can those people think of telling only one type of story with the Solarpunk-setting? And why is it the kind of story that is literally the polar opposite of Solarpunk as a setting-idea?

Because I can guarantee you: Every single genre is very much still possible even within an utopian Solarpunk setting, where the utopia is not a sort of conspiracy hiding a darker secret.

Mystery? Well, even in an utopian world people will go missing. Even in an utopian world, someone will commit murder. The world being utopian will not just fix humanity from its darkest instincts.

Romance? Duh, people will still fall in love in an utopian world. And people will still be complicated about it.

Adventure? Within a Solarpunk world there will still be people looking for lost treasure. Hell, there will probably still be some asshole private collectors who want it for themselves. Or you can even do it fitting with the theme: Instead of a lost treasure people are having an adventure looking for a supposedly extinct species!

Action? You do not need a government conspiracy for someone to come up with guns and do bad things with it, forcing good guys with guns to stop them and have cool fights while doing so!

Thriller? Again, it does not need to be a government conspiracy for that to happen. (Heck, I might write a different blog about that tomorrow.)

Horror? You can have both serial killers/slashers in a Solarpunk world, abusive people for psychological horror, and ghosts/demons if you wanna go supernatural. Literally neither of those care much about the setting they are in.

So, yeah. Really. If you think you cannot write an interesting story within a Solarpunk novel that does not involve the government hiding something and the world being build on a lie, that is very much a skill issue. Or to put it different: Maybe writing is not for you.

[mdhwrites]

The Isles is Particularly Awful for Sequel/Next Gen Stories

With Belos gone, the Isles loses literally the only thing that makes it unique from any generic fantasy setting out there: The Coven System. Worse yet is how much the show tries to blame every bad thing on the Isles on Belos and his collaborators, portraying pre-Belos as utopian, so now that he's gone, you have to retcon that part of the show to have ANY real threats.

That's really the main thrust of this. I could expand but the basic point is that there's just nothing to do with the Isles that's better than doing it during Belos' reign. You could explore the Isles but now you're just messing with monsters in their ecosystem who were never a real threat in the show. You could try to depict the reconstruction but there's no tension between people of the Isles, just a need to rebuild. Besides, how do you even portray that when the Isles has zero culture so there's nothing to explore in how they are besides how they feel about Belos falling which is seen as a positive by EVERYONE if the group shot at the end, where even old enemies are now on Luz's side, is any indication.

Really, the only thing about the Isles that is still intact in a way that makes for interesting storytelling AT ALL is Hexside and pretty much just because it's a generic fantasy school that you can do whatever you want with. Which... Yeah, that's pretty much all I've seen. Despite the fact that the fandom immediately went for fankids after the finale, no one seems to have anything to do with them besides throwing out concepts and shipping. Or, you know, recycling old plot lines but with the new cast, committing the cardinal sin of next gen stories of just having an excuse to reset and retell. *glares at Boruto*

But what else are you supposed to do? Unless you want to say Eda and Raine failed in reforming the Isles, you have no conflict there. You either have to bring back old villains, bring in an invading force, both... Or change things so drastically that I question why you're not just doing an original story since you're having to put in that much work anyways.

I guess MAYBE you could do the Isles integrating with humans but like... The show made it clear that that's not a hard process either direction. And why should it be? The Isles is so generic as to barely feel like the other world that it is instead of just our world but with elves.

Even Amphibia, which ends similarly happy, still gives people more to do simply by the fact that it explored its setting. There's still so much out there. The three races still have to figure out how to coexist. Andrias wasn't a toxic power structure, he was THE power structure and the entire world has to recover from an incredible ecological disaster instead of just a glitter bomb.

So yeah, good on those who are having fun with their fan kids but I'll just continue to hope they don't try to continue TOH, not when they left themselves nowhere to go.

======+++++======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[contentwriteroll98]

Latest Research Topics For PhD In English Literature

Certainly! Here are 16 potential research topics for a PhD in English Literature, along with brief explanations:

With the Latest Research Topics For PhD In English Literature, you can easily make your research perfect. PhD in English Literature is a pursuit that requires both passion and precision.

Postcolonial Narratives and Identity Construction: Explore how postcolonial literature contributes to the formation of individual and collective identities, considering the impact of colonial history on contemporary identity politics.

Eco-criticism in Contemporary Literature: Examine the representation of environmental issues in modern literature and how authors engage with ecological concerns, reflecting on the relationship between nature and culture.

Digital Humanities and Literature: Investigate the influence of digital technologies on literature, analyzing how digital humanities methods can enhance the study of literary texts, dissemination, and reception.

Queer Theory and Literature: Analyze the representation of LGBTQ+ identities in literature, exploring how queer theory enriches our understanding of diverse sexualities and gender expressions in literary works.

Globalization and Literature: Study how literature reflects and responds to the challenges and opportunities presented by globalization, considering the impact on cultural exchange, identity, and narrative structures.

Trauma Narratives in Literature: Examine how literature engages with and represents trauma, both individual and collective, and how narrative techniques are employed to convey the complexities of traumatic experiences.

Literary Adaptations in Film and Media: Explore the process of adapting literary works into film and other media, considering the transformative nature of this process and its implications for narrative interpretation.

Postmodernist Metafiction: Analyze the use of metafictional techniques in postmodern literature, examining how authors self-consciously play with narrative conventions to challenge traditional storytelling.

Literature and Cognitive Science: Investigate the intersections between literature and cognitive science, exploring how reading literature affects cognitive processes and contributes to our understanding of consciousness.

Feminist Rewritings of Classic Literature: Examine contemporary literature that revisits and reinterprets classic works from a feminist perspective, considering how these rewritings challenge and subvert traditional gender roles.

Literary Representations of War and Conflict: Investigate how literature captures and reflects the experiences of war and conflict across different time periods and cultures, analyzing the role of literature in shaping historical narratives.

Dystopian and Utopian Narratives: Analyze the role of dystopian and utopian literature in critiquing or envisioning societal structures and norms, considering how these narratives reflect cultural anxieties and aspirations.

Literary Depictions of Mental Health: Explore how literature portrays mental health issues, considering the representation of mental illnesses and the role literature plays in raising awareness and reducing stigma.

Literature and Post-truth Era: Examine how literature responds to and reflects the challenges of navigating truth and reality in a post-truth era, considering the ways in which authors engage with concepts of truth and fiction.

Literary Journalism and Narrative Nonfiction: Investigate the intersection between literature and journalism, focusing on narrative techniques in nonfiction storytelling, and how these techniques contribute to a deeper understanding of real-world events.

Literature and Medicine: Explore the connections between literature and medicine, considering how literature engages with health, illness, and medical ethics, and how it contributes to the humanistic understanding of medical practices.

Also Read: Benefits of Content Writing for Businesses PDF

These topics offer a diverse range of avenues for research within the field of English Literature. Each topic provides a foundation for deeper exploration, allowing you to tailor your research based on your specific interests and academic goals.

[comicsandculture]

Have you ever opened a comic and felt connected to the story as if it was your own. Comics allow the reader to connect real stories and experiences to fantasy worlds and characters. Comics have been used as propaganda, as informative, and new ways to reflect changes in culture. What many thought were works of childish fiction grew to be an important piece in cultural history

From ancient sculptures and myths to comic strips in the newspaper, to an industry spawning movie and shows and franchises. The history of comics has been rich and has had a variety of different forms.in Centeno’s article “A Very Brief History of Comic Books” he explains the different forms comics have taken over the years and its importance.” Illustrated folios and wooden plates have been categorized as important artistic and political devices since the early points in most civilizations. Graffiti in Roman cities were political, but also crude and funny. Illuminated manuscripts contained holy images, but also doodles that have baffled historians for centuries. Illustrating a story to make it more appealing to an audience has been at the forefront of the human mind since its early existence in caves.” (paragraph 1).

Early forms of pictograms share similar elements to comics in forms of art and storytelling techniques in today traditional comics those aspects can be reflected. However, the transition of comics in history was not easy as explained in the ted talk “Understanding Comics by Scott McCloud.” the problem was that if you go with this basic idea that space equals time in comics, what happens is that when you introduce sound and motion, which are temporal phenomena that can only be represented through time, they break with that continuity of presentation”.(10:34). The situational problem of adapting comics to the passage of time presents an obstacle but if done correctly provides a breakthrough in entertainment storytelling and allows comics to explore new creative outlets such as news, politics, and even education.

Comics have been used in history as more than just figures of art and fiction to political outlets and propaganda to promote world events. For example, the early Captain America comics showed political corruption and taught children the complexity of World War 2 and how it affects America, in today’s world comics can be used to highlight systemic injustices and representation as seen in Minicos article “comics, especially superhero comics, are an original, compelling and useful medium for an analysis of otherness and intersectional feminism. Revealing the utopian and dystopian grounds of their realities.” (3). Comics help bring political and social controversies into exposure by simplifying and proposing it to a general audience by substituting it with a fantasy background. Comics are also used as informational outlets of education such as mathematics as explained in Reily’s article on comics in mathematics.” Comic books as permanent artifacts is one of the reasons why they are often used in ESL classrooms. Students can control the speed with which communication progresses. It is the same as reading a novel but with the visuals bring creativity and communication into the classroom (Gomez, 2014). Comic books can be intermediary. They can form a bridge to help students move from simple to more difficult concepts”.

So next time you open a comic book, think about how influential and vital their role has been in building society’s culture as well as our politics, art, and philosophy. Sometimes it is not just heroes and villains but ideas and insights into our culture. Think of a comic you know, what symbols can you identify in the setting, the characters plot, the conflict, and the comic as whole?

Works cited:

McCloud, Scott. “Tedtalks: Scott McCloud--Understanding Comics.” TED, February 2009. https://www.ted.com/talks/scott_mccloud_the_visual_magic_of_comics/up-next/transcript?subtitle=en

Reilly,Edel.”Superheroes in Math class: Using Comics to Teach Diversity Awareness.” Works & Days, Vol. 32,2014/2015,Accessed 9/4/2024, p61-74,EBSCOhost, https://web.p.ebscohost.com/ehost/detail/detail?vid=6&sid=59b8dc6c-cb09-469b-97dd-e5d79b6d61a9%40redis&bdata=JkF1dGhUeXBlPXNoaWImc2l0ZT1laG9zdC1saXZl#AN=117806160&db=hus

Di minico, Elisabetta.” The Ages of Otherness: How Superhero Comics Reflect on Systemic Injustice and Racial and Gender Representation.” Caietele Echinox, Vol. 46,2024, Accessed 9/4/2024, p219-237, EBSCOhost, https://web.p.ebscohost.com/ehost/detail/detail?vid=4&sid=f79a7b78-6bae-4bb0-8e87-5e8e88f45046%40redis&bdata=JkF1dGhUeXBlPXNoaWImc2l0ZT1laG9zdC1saXZl#AN=178605409&db=hus

Images cited:

Lim,Ron.Lee,Jim.Marvel Comics.1968.tumblr. https://travisellisor.tumblr.com/post/123171747638/the-cover-to-captain-america-383-by-ron-lim-and. Accessed 9/5/2024

Crocker,Sarah.British Museum.March 3, 2023.Grunge. https://www.grunge.com/1216514/egyptian-myths-and-legends-that-will-keep-you-up-at-night/ Accessed 9/5/2024

DMca.Peakpx. https://www.peakpx.com/en/hd-wallpaper-desktop-oymhe Accessed 9/5/2024

Granger,NYC.GRANGER-Historical Picture Archive.1777.alamy. https://www.alamy.com/stock-photo-revolutionary-war-cartoon-na-feathered-american-patriot-is-cutting-95839104.html Accessed 9/5/2024

Showface.Dreamstime.com. https://www.dreamstime.com/royalty-free-stock-images-student-reading-thinking-image13595399 Accessed 9/5/2024

[tahomawhisperingwind]

Imagine a world where healing is not merely about treating an isolated symptom but rather about restoring balance to the whole being; where a hospital visit might involve not just a sterile examination room, but also the healing touch of a massage, the soothing sounds of a song, and the scent of medicinal herbs wafting through the air. This is not some utopian vision of the future but a glimpse into the intricate tapestry of Apache healing practices, where nature, spirituality, and community converge to form a holistic approach to well-being.

Image generated by the author

The Healing Pillars of Apache Culture

The Apache, a group of culturally related Native American tribes in the Southwestern United States, have long been respected for their profound understanding of healing. Their holistic approach encompasses the whole person, addressing not only physical ailments but also mental and spiritual ones. The pillars of Apache healing are rooted in their historical and cultural context, which emphasizes the interconnectedness of the body, mind, and spirit, and the importance of the community and the natural world.

In the face of historical upheavals, including conflicts with other tribes and encroachment by European settlers, Apache healing practices have been an unsung hero, preserving their sacred knowledge and fostering resilience.

The Symphony of Apache Healing Practices

Apache healing is a symphony of practices, each playing a crucial role in restoring harmony. Herbal medicine, for instance, is one such melody. Apache healers, known as medicine men or women, are well-versed in the healing power of plants, using them to treat a range of ailments.

Then there are the powerful beats of spiritual ceremonies and rituals, which often involve prayer and ceremonial dances. Imagine, if you will, the rhythmic drumming echoing through the night, the circle of dancers moving in unison, their footfalls in sync with the heartbeat of Mother Earth, their voices rising in a chorus of prayer.

Storytelling, too, holds a sacred space in the Apache healing process. It is the thread that weaves together the fabric of Apache culture, strengthening their cultural identity and teaching lessons of resilience and respect for nature. Stories passed down through generations serve as both a repository of ancestral wisdom and a healing balm for the soul.

And at the heart of it all is the concept of balance. The Apache believe healing occurs when individuals align with their true selves and the world around them. This is not just about physical health but living with respect for all beings and the earth itself.

The Relevance of Apache Healing Practices Today

Even in the face of modern healthcare, many Apache individuals continue to blend their traditional practices with contemporary understanding, a testament to the enduring value of their ancestral wisdom. Moreover, these practices offer practical applications for enhancing physical, emotional, and spiritual well-being in the modern world. They encourage balance, self-awareness, personal growth, social connection, and respect for nature.

For instance, consider an Apache healing ritual featuring the use of medicinal plants. The plants, harvested with respect and intention, are prepared into remedies. The community gathers, their collective presence amplifying the healing energy. The healer leads the ritual, using the plant remedies, backed by the power of prayer and intention, to treat the ailment. This is not just a treatment; it is a transformative experience, a poignant reminder of our interconnectedness and our innate capacity to heal.

A Call to Integrate Apache Wisdom

In conclusion, Apache healing practices offer a profound perspective on health and healing. They emphasize the interconnectedness of body, spirit, and community, and teach us to approach health holistically, and to value intention and respect in our daily lives.

As we navigate the complexities of today's world, perhaps it's time to integrate these principles into our modern practices. By doing so, we may find that we can face our challenges with a greater sense of balance, strength, and grace.

So here's an invitation: Let's explore and incorporate these practices into our lives. Let's immerse ourselves in the wisdom of the Apache, learn their terminology, explore their rituals, and discover the profound insights they have to offer. In doing so, we might not just heal ourselves; we might just heal the world.

AI Disclosure: AI was used for content ideation, spelling and grammar checks, and some modification of this article.

About Black Hawk Visions: We preserve and share timeless Apache wisdom through digital media. Explore nature connection, survival skills, and inner growth at Black Hawk Visions.

[joshua-rimondi]

Xenoblade Chronicles 2

Xenoblade Chronicles 2 is more than just an anime and video game; it's a profound narrative that explores themes of hope, humanity, and the quest for a better world. Through its intricate storytelling and rich character development, it addresses issues that are both specific to Japan and relevant globally. One of the central themes of Xenoblade Chronicles 2 is the pursuit of Elysium, a mythical paradise that promises a life free from suffering. This theme resonates deeply in Japan, a country that has faced numerous natural disasters, from earthquakes to tsunamis. The dream of a utopian refuge reflects a collective desire for safety and peace in the face of adversity. Globally, this pursuit symbolizes the universal human aspiration for a better future, free from the struggles and injustices that plague our world. The character of Rex, a young salvager, embodies the spirit of perseverance and optimism. His journey, depicted in scenes like "A Boy and the Sea" and "The Legend of Elysium," mirrors the resilience of individuals striving to overcome personal and societal challenges. Rex's determination and hope are qualities that resonate with many of us, especially in times of uncertainty and hardship. Throughout the game, the relationship between humans and Blades (sentient beings who serve as both weapons and companions) raises ethical questions about the nature of life and the responsibilities that come with creating beings with consciousness. Scenes like "The Blades' Life-Cycle" prompt reflections on modern issues such as artificial intelligence and genetic engineering, highlighting the importance of ethical considerations in technological advancements. On a personal level, Xenoblade Chronicles 2 resonates with my experiences and aspirations. The themes of companionship and sacrifice, depicted in scenes like "Through the Heart," remind me of the importance of relationships and mutual support in achieving our goals. Living in Singapore, I have seen the impact of rapid urbanization on the environment, and the game's emphasis on preserving the natural world and its beauty is a poignant reminder of the need for sustainable practices. The game's exploration of humanity's hubris and the consequences of unchecked ambition, as seen in scenes like "The Hubris of Mankind," is a powerful commentary on contemporary global issues such as climate change and geopolitical conflicts. It urges us to reflect on our actions and their long-term impact on the world.

[taoserene]

Herb Brides

I've been thinking a lot about Herb Brides lately. Of course, the obvious (and imo correct) assessment is that they are sexualized to sell the game. But Pathologic wouldn't be Pathologic if it didn't throw us off track at every single turn, with conflicting POVs and interpretations. That's one of the most amazing things about its magnificent storytelling. I believe that this multiplicity of voices comes from the fact that it has multiple creators. In the case of the Herb Brides in Pathologic 2, I really enjoy how their oversexualization is very much in the eye of the beholder. To the Kin, their nakedness is nothing but sacred: a result of their trance dance to wake up the seeds. Fertility, not lewdness, is the point. Burakh treats them as part of his extended and estranged family, and Daniil is repelled and irritated by them, but not enough to refuse helping them. The real  dehumanization and oversexualization comes from the townsfolk: Andrey, particularly, turns their sacred dance into a sex attraction, in the same way that he desecrates the holiness of Twyrine (bad Andrey). The town burns them like witches when they need a scapegoat. The Europeanized Kin women dress European clothes and dissociate from their origins. And Eva Yan romanticizes them, mimicking their way of dressing and moving, but does she really understand them? Does she need to? I really enjoy her final conversation with Burakh at the Cathedral in the Nocturnal ending (foreshadowing!) where he basically questions if she has any idea of what she is getting herself into. The oversexualization and fetishism of the colonized female body in the eye of a more sexually repressed culture is very engaging as a narrative, and never entirely solved by Pathologic. It's up to us to process the issue. I find the game's narration very compelling, especially from Artemy's point of view, since, like all shamans, he's our fragile walker between worlds.   

Edit: And then again, in the Nocturnal ending, Eva doesn't follow the others in their death march into the steppe, which means, imo, that there is something genuine about her wishes. Eva is the only utopian who belongs in the Nocturnal ending...up to a point. Of course, the game adds further complexity to their whole mythology by making the Herb Brides magical and (mostly willing) human sacrifices, driving home that there is power imbalance and dysfunction in the Kin itself.  Annnd all this is part of a play and a game. Let's not forget that this extremely immersive story never lets us forget that it's all make belief. Honestly, the complexities and contradictions are so fascinating. Can I ever stop babbling about how much I love this matryoshka of a game? 

[deaddee-anime-brownfanlady]

An ARCANE Review: Adult animated storytelling at its finest and why there's needs to be more animated series like this immediately.

Alright I know I'm a bit late to the party, well about one year late. But I've been meaning to talk about Netflix animated show Arcane for a while now after having watched it for the very first time a couple of weeks ago...and Man I truly swear this series has got to be one of the best shows. Especially in terms of adult animated series that I have seen as of recently.

Everything about this show from its gorgeously detailed animation to its well-written highly rounded characters, a great soundtrack that fits so well with the scenes they go alongside, its top-notch voice acting as well its cinematic camera angles, and most importantly its fantastic mature compelling well-done storytelling is just marvelous.

And all of it is based on an online game that I barely know next to anything about except that's its a battle arena fighting game and that I've seen ads for it on YouTube. I can't say much about the game, but the show is really something.

Now about the series itself, Arcane is set within a utopian fantasy steampunk-like society where you have the prosperous technologically advanced aristocratic city known as Piltover which on the surface looks like a wonderfully beautiful and peaceful metropolis...but that’s only by appearance. While Piltover from first glance might look like a perfect city, but its has a dark shady side to it amongst its apathetic poor mistreatment of its impoverished lower levels population.  While the show has an driving main focus dealing with the growing rising tensions between Piltover and the Undercity the overall story centers on two orphaned sisters,  Vi and Powder.  Who's relationship and paths will take an unfortunately major turn of events that will alter not only their sisterhood but also the already fragile relations between Piltover and the Undercity that's slowly becoming a battle on the sides of magic and science.  With the people of the Undercity struggling to survive and resisting Piltover violent law enforcement, Slico an ruthless but clever ambitious crime lord who has the ambitions to make Undercity a independent self-sufficient nation.  On the other side of the coin, you have two inventors,  Jayce and Vikor trying to make a revolutionary breakthrough by harnessing the power of magic as a new energy source. With war seemingly brewing closer between Piltover and the Undercity, Vi, and Powder are in the middle of the conflict while the city heads to a breaking point.   Again I don't want to spoil way too much because I feel this show is still better left being fully experienced firsthand.   But for real trust me this series is most definitely worth the watch, truly the best when it comes to adult animation that isn’t your sometimes typical South Park or Family Guy-style sitcom clone. But a good mature well-made show with a equally incredible written emotional story that is such an banger to be seen. 

Seriously this show needs to be watched and Yes, it is as good as other claims it to be. 

[elbiotipo]

Star Trek is an interesting series because uniquely for USAmerican pop-culture, it has a very communitarian and utopian, in fact almost if not outright marxist background. The ideal of a future utopian society where people from all over the world (and other worlds) live in peace and equality (the importance of having women and people from all races as main characters in a time where half of the US was still under apartheid and the rest of the world was used to European Males being the heroes was massive), a future where science and diplomacy are held to be the highest values, a future without money, a future where the main character outright says "The acquisition of wealth is no longer the driving force in our lives." This is literally unheard of in US pop culture and indeed in most pop culture around the world.

AND YET it's also a series very much based in the way of life and ideals of the US Navy, with all that implies for its storytelling... The glorification of "exploration", of Better People coming to Primitive Worlds and Teaching Them A Lesson (no matter how well intentioned it's portrayed), the contradiction of a force of peacekeeping and exploration that still acts as a military. Star Trek always fought between these two contradictions, the Utopian future of all mankind and other species exploring space in peace and the HOO-RAH U-S-A U-S-A Navy militarist and "justified" conflicts. So many fans focus in "which ship could beat which" and the whole military structure of Starfleet and you can't really blame them since those aspects where there from the start.

TOS was revolutionary for its time, even if it still had some US centric episodes, it really was the perspective of a future for all mankind. TNG took it further, and it perhaps showed one of the best and most elaborate visions for an utopian future ever made in television with still interesting storytelling. DS9 explored the contradictions of such an utopia and while I still haven't seen it, it did so masterfully from what I've heard.

And from them, the US NAVY HOO-RAH 'faction' took over, and Star Trek stopped being about the shared future of mankind to become the future of the US (check out Enterprise's intro; Yuri Gagarin is nowhere to be found, but they found space for that guy who flew a plane really fast), and eventually to become a pew-pew starship fights action series with some speeches about "WE ARE STARFLEET. WE ARE EXPLORERGHDSKHSH" to appease the older fans.

The fact that Star Trek has long stopped trying to be the international global phenomenon it once was with the IP owners closing streaming services to US-Only services, virtually all characters from Voyager onwards being of US background (just compare the bridge crew of TOS to any other series), and so on... shows that Star Trek has long strayed from its almost revolutionary premises to become a show that glorifies US nationalism and warfare. Like pretty much every sci-fi in television.

Anyways.

[codylglobalcinema]

Blog 5: Micheal Haneke, Code Unknown;Cache

Through the many countries, languages, directors, and ideas we focused on this semester, there was one film that stood tall above the rest for me. That film was Code Unknown by Austrian film director Micheal Haneke. In just about every film we viewed, there was a great deal of cultural shock that had to be overcome, in order to help visualize the stories as much as I could. The way in which Haneke depicts the lives and thoughts of people, all types of people, broke down that wall for me almost immediately during the viewings of some of his films. There were motivations and emotions which transcended the boundaries of language, struggles shared by people of all walks of life. The two films which I have chosen to examine critically in this paper are Haneke’s Code Unknown (2000) and Cache (2005). The lens in which I am going to examine these films is with the focus on how they portray day to day life. But first, I will be going into the artistic background of Micheal Haneke himself. 

  Born in Munich, Germany in 1942, Haneke was the son of two people who were very accomplished in Cinema, German actor Fritz Hanke and Austrian actress Beatrix von Degenschild. As an adolescent he showed a personal contempt for school, with strong interests in literature and music. He attended the University of Vienna, and worked as an editor and dramaturge at the southwestern German television station Südwestfunk from 1967 to 1970. He made his TV directorial debut in 1974, and made his feature film debut in 1984 with The Seventh Continent. His work is known for often examining social issues and depicting the feelings of estrangement, never being afraid of tackling what may seem like very mundane emotions on the surface level. Hanke believes that “films should offer viewers more space for imagination and self-reflection. Films that have too much detail and moral clarity, are used for mindless consumption by their viewers” (McCan 76). What he means by this is that having all meaning and morality explained and rationalized for the viewer leaves the viewer with no room to think or analyze for themselves. One similar filmmaker who shares this sort of ‘passionate detachment’ of emotions from day to day people is David Lynch. Haneke’s distinct style is one to take note of, his unique worldview, because “he recognizes that the crises that affected twentieth-century humanity, in particular alienation and repression, continue in the new millennium even if they are simply embraced as features of contemporary life in much postmodern artistic expression” (Mcan 77). His style is very out of the ordinary, and has earned him the high acclaim and prestige which he carries today. 

The next aspect in discussing Micheal Haneke involves discussing the social and economical environment in which he works. Being from Austria, the locations and social topics of his film occur from within Europe. In the case of Cache, the meaning of his films can change based on the global events that happen around it, in this case being Cache’s theme of guilt and what to do with it, which had the impact of 9/11 tacked onto it due to how close the films release was the the tragedy. In Cache, Haneke does touch upon the war in Algeria a bit, and during an interview had this to say about its inclusion in the film: “I made use of this incident because it fits in a horrible way. You could find a similar story in any country, even though it took place at a different time. There's always a collective guilt which can be connected to a personal story, and that's how I want this film to be understood” (Schiefer). Hanke uses conflicts like this as just a backdrop to his stories, some historical context to add to the deeper meanings of his films. The true tension in his films does not come from larger-scale specific events, but rather the long-term reactions and ways in which characters deal with these events, opening up a channel to the viewer to see these events from another human point of view.

The final aspect of analysis directed towards Micheal Haneke himself is the ways in which he finances and distributes his films. Hanke premieres his films in film festivals such as Cannes, and the Locarno international film festival. This is his method of getting his films to reach more international and western audiences. 

     The first film which I will be doing a critical analysis of is Haneke’s Code Unknown. A film filled with several unfinished stories, it was my personal favorite film the entire semester of the Global Cinema course. The film shows many snippets and sections of life from different people's point of view, many of these characters briefly interacting with one another in different ways. The substance behind these many mini stories is the day after day, regular lives lived by each of the characters. Their actions are not the focus of the story, but their thoughts and their emotional choices. These characters are used to create a mood, a shared state of mind, “the characters more often function as parts of a puzzle rather than as empathetic figures in a drama” (Rooney). The two characters who I was drawn to the most, mainly due to them having the most screen time, were Anne (Juliette Binoche) and Jean (Alexandre Hamidi). Binoche’s character is an actress, which lends well to the films fractured storytelling, as it makes the viewer what is real, a flashback, or a rehearsal of a scene. “The fragmentary structure undermines the utopian idea of a community premised on a vague, and thus problematic, notion of the''common ``. In the "community without community" that Haneke envisions (after Balibar) the principles of democracy are tested on a daily basis rather than taken for granted” (Trifonova) . I really love this structure of storytelling, it adds much more than a linear format, as the whole film serves to dissect and strip away the normal, day after day feeling of life. https://www.youtube.com/watch?v=9ujWUrZTulo 

The second and final film which I will be doing critical analysis on is Cache. Another film focused on character emotion with places and actions being a backdrop. The focus of this film is guilt. Hanke himself even states this, posing the question of “Do I accept it? And if I don't, what do I do? And if I do, what do I do?” (Delaney). The presence of real world events are much more present in this film, and affect the narrative directly. “Haneke uses this historical event that has been wiped from the French collective memory to frame his exploration of racism, violence and guilt in a postcolonial context ­ from the point of view of the privileged white middle class” (Delaney). The film has many subtle attributes in it, with one of the immediate details I loved were the actors for Anne and Georges reprising their roles from Code Unknown. The film follows Anne and George’s bourgeois home in which they’ve been living mundane lives, until disturbing video tapes begin to show up at their door. As the film goes on, you begin to realize that these video tapes are an allegory for France’s forgetting of the Senile river massacre, and the guilt that comes from that, as well as the idea of guilt in the eyes of a child. “‘Caché’ is the sharpest in terms of mocking its protagonist’s sense of reality and his delusion that he possesses any ability to be in control of it” (Celik). The characters have their weaknesses and insecurities laid bare on the screen, humanizing them and breaking down the way guilt and society affect people even after events have come and gone throughout history. 

https://www.youtube.com/watch?v=5_ZtfuvxpEw 

[highandlowculture]

MEET THE NEW WEST, SAME AS THE OLD WEST

In the second act of Once Upon A Time… In Hollywood, washed-up actor Rick Dalton is on the set of a TV western as his stuntman and best buddy, Cliff Booth is revisiting Spahn Ranch, a former set for movie westerns. The ranch has been taken over by a bunch of hippies who follow some guy name “Charlie”. The heavy of the hippies is a fella by the name of Tex Watson. When conflict arises between Cliff and the hippies, one of the girls runs off to fetch Tex, who’s busy showing a tourist couple around the ranch. Hearing that there’s trouble brewing, Tex snaps to it, galloping across the western landscape on horseback and wearing a black hat. It’s a sweeping shot straight out of a John Ford film. That’s when it clicked for me…

Tarantino has made his third western.

Although there were always spaghetti western elements in his films (especially in Kill Bill vol. 2), QT hadn’t made a full-fledged western until 2012’s Django Unchained. Though entertaining and with an African-American lead, the film is his most straight-forward movie. We know who the heroes are, we know who the villains are. Wrongs are righted with a six-shooter and a hero’s grin. Its followup was another western, 2015‘s The Hateful Eight, a much darker and far less heroic film. All of the characters are flawed if not outrightly fucked-up. If Django Unchained was the sumptuously shot crowd pleaser, The Hateful Eight was the claustrophobic, nihilistic reversal. The western myth of heroes and villains is subverted by an unsavory group of characters who drag each other through snow, blood and racial slurs. Maybe the Old West was a pretty rough place to live in after all!

And now, in 2019, QT transports us to another Old West: 1969 Hollywood.

Fifty years ago. Half a century. Pretty old, right?

Already contentious with reviewers, one of the main debates surrounding Once Upon A Time… In Hollywood is its handling of Sharon Tate and the Manson Family. In the summer of ’69, when Tate, her unborn baby and her houseguests were brutally murdered by three members of the Manson Family, it sent shockwaves throughout Hollywood and America. The utopian dream of the 1960s was over. That’s the sanitized, less complicated history anyway. At the time many people were blaming satanism and Tate’s husband Roman Polanski for his hedonistic ways. Plus anyone deep in the trenches of late 60s hipdom knew that some of the peace-and-love spouting Flower Children might be psychopaths that could turn on a dime. Such darkness was foreshadowed in the music of The Doors and Velvet Underground. As Joan Didion recalled in her seminal work The White Album:

“Black masses were imagined, and bad trips blamed. I remembered all of the day’s misinformation very clearly, and I also remember this, and wish I did not: I remember that no one was surprised.”

Knowing this I find it disappointing just how many reviewers fail to see how sympathetic QT is to Sharon and her friends. They’re shown as cool people with a good vibe (only Roman is shown to be prickish when he speaks rudely to a dog). Sharon and Jay Sebring like to listen to records and enjoy life. No satanism. No orgies. And Sharon’s a generous person. She picks up hippie hitchhikers and buys her husband a Thomas Hardy novel. She relishes the communal experience of watching herself in the Dean Martin film The Wrecking Crew. It’s not just about her. She’s enjoying the connection she’s making with the theater’s audience. On the infamous August night, the film’s narrator talks about how Sharon, in the late stage of her pregnancy, was feeling hot and anxious. In short, Sharon is humanized. She’s a thoughtful, spirited and benevolent presence throughout the film. I think reviewers who view her just as “a Barbie doll” are revealing more of their own lack of empathy than QT’s. And people getting hung-up on how many lines her character speaks have some skewed priorities. As if the only way a person has worth is if they talk a lot. Talking. Talking. Talking. There are so many empty vessels running at the mouth these days. Social media voices bombard us constantly. There’s something to be said for some quiet dignity every once in awhile. Regardless, Once Upon A Time… In Hollywood isn’t Sharon’s film and it’s not a biopic. It’s Rick and Cliff’s film and it’s a western.

If comedy is “tragedy plus time”, then the same can be said for any work of art. The mythology of the Old West often mixed historical and fictional characters. Whether they were Billy The Kid, Wyatt Earp or Butch Cassidy, we’ve seen countless retellings of their exploits, never exactly the same, never entirely accurate. That’s what makes it a myth. A good portion is made-up. Going back to Homeric and Arthurian legends, the foundation of storytelling has always been a collision of fact and fiction, chronicle and embellishment. People make too much of QT altering historic events. Are the Nazis of Inglourious Basterds and the Manson Family of Once Upon A Time… In Hollywood any different than any other mythical villains of earlier works of art? If a filmmaker can’t riff on a fifty-year-old historical event, then what are we really doing here? Do we just want the cinema of Marvel Comics and discreet biopics? QT doesn’t treat history any different than the filmmakers of the 1960s treated the events of the 1860s. Tex Watson, galloping away in his black hat, is a signpost for this. It’s QT’s way of saying: “Every time has its myths, every time has its black hats and white hats”. And the Manson Family, filled with bloodlust and megalomania from the top down, fulfill the role of black-hatted villains quite perfectly.

Does this make Rick and Cliff, two middle-aged white guys who love booze and hate hippies, our white-hatted heroes? Hell, no. With the exception of Django Unchained, that was never QT’s bag. He’s all about the anti heroes of spaghetti westerns and Sam Peckinpah films. Men who have done plenty of bad, sometimes unspeakable, things. They’re only the hero because they wrestle with their past and because there’s always a meaner, badder fella waiting to shoot it out with ‘em. Clint Eastwood’s character in the The Good, the Bad and the Ugly is only “Good” because Lee Van Cleef is so clearly “Bad” (and Eli Wallach “Ugly”). In 1992’s The Unforgiven, Eastwood’s character talks of killing “women and children” in his past. Yet he’s still clearly our hero. The Old West is a morally complex time in which one’s heroism is often defined by a greater and competing villainy.

So when it’s revealed that Cliff possibly murdered his wife and got away with it, he’s stepping into the role of anti hero with a dark past. Is Cliff haunted by his past? Not seemingly. He’s more inclined to shrug it off with a smirk and swig of beer. Shit happens y’know. This makes him exactly the type of guy murderous hippies shouldn’t fuck with. They justify their bloodlust with a self-serving philosophical bent: Entertainers taught them to kill via TV and movies, so it’s okay to kill the people who are involved in making TV and movies. QT makes the bold and provocative choice to not confirm whether Cliff did or didn’t kill his wife, but if he did, he probably wouldn’t dress it up as anything other than a burst of brutish violence that he was lucky to get away with. He loves his dog though, and he’s a good friend. In real life that might not justify liking the guy, but in a western that’s usually enough. Ultimately these character choices made by QT are to set up a mythic showdown between Cliff and the Manson Family. He’s good because they’re bad. It’s the same reason Cliff was shown going head-to-head with Bruce Lee. Masked racism by QT, a known lover of Asian and martial arts films, or a way of building up Cliff’s status to mythical proportions? There was once this ex war hero, who became a stuntman and maybe killed his wife, and he once threw Bruce Lee into a car door on the set of The Green Hornet! Cliff is Paul Bunyan. He’s Bill Brasky. A folk hero for stuntmen and for his time.

And did you hear that one tale about Cliff and the Manson Family…?

Rick’s bread and butter is now guest-starring on various TV shows in which he plays the heavy and gets his ass kicked by the show’s star at the end of the episode. Rick is a boozy, bloated hot mess of a man who’s prone to crying. A lot. His first burst of tears in the film is at the Musso & Frank parking lot, after an agent gives Rick a harsh dose of reality regarding the state of his career. Cliff, always keeping his cool, gives Rick his sunglasses and says, “Don’t cry in front of the Mexicans.” Remember — this is a western. Anyway, if Cliff fills the role of macho, gives no fucks, murderous outlaw, Rick is the contrasting “modern man” or, to use a western term, “tenderfoot”. The film begins with a behind the scenes segment for Rick’s old show Bounty Law. In it an interviewer talks to Rick and Cliff about what a stuntman does. During the interview there’s a quip about Cliff carrying Rick’s load. So right out of the gate, QT brings our attention to the idea that Cliff is the real deal and Rick’s the actor playing a role. This notion is repeated throughout the film (even one of the Manson Girls, “Pussy”, makes reference to Cliff being more authentic because he’s a stuntman rather than an actor). Regardless of whether Cliff murdered his wife or not, he’s an ex military man and war hero, so obviously he’s killed people before. So in addition to taking falls and performing dangerous stunts for Rick, he’s more of a bona fide western anti hero than Rick ever could be. Fittingly, while Cliff and the Manson Family black hats are sizing each other up at Spahn Ranch, Rick is busy acting in a TV western. And Rick keeps crying. A lot. He even cries in front of a little girl who simultaneously coddles and reprimands him. No doubt, Cliff would view this as potentially worse than crying in front of Mexicans. But Rick can’t help himself. He’s both a man of his time and out of time. He can’t roll with the hippies and spaghetti westerns but he’d never last a day in Cliff’s shoes let alone the wild frontier. Even at the end, in which Rick finally gets the chance to become an avenging hero (involving possibly the greatest payoff in cinematic history) if one steps back and thinks of the climactic set-piece, Rick is merely stepping in at the end to grab all the glory after Cliff and his wonderful dog Brandy did most of the heavy lifting. Thus Cliff is yet again carrying Rick’s load.

But this doesn’t mean Rick doesn’t have a victory. He does. It just comes at the midpoint, and it’s the closest thing to a real-life victory in the film. When Rick shows up to play the heavy in the TV western, he’s reached his low-point. Like a different part of the anatomy going into ice-water in Raging Bull, Rick is submerging his face into ice-water in his trailer, struggling with a hangover and hopelessness. Making matters worse, the artsy director shows up and tells Rick he wants him to play a hippie-style outlaw with a fringe jacket, mustache and long hair. The only thing Rick does more than drink and cry is insult hippies. He’s living his worst nightmare as an actor. QT makes another one of his most interesting choices by showing the subsequent scenes from the TV show in the same film stock and style as the main narrative. Thus when juxtaposed to Cliff at Spahn Ranch, Rick’s battle with his growing irrelevance as an actor is given the same cinematic weight. This isn’t just a TV show within the movie — it is the movie! This battle or showdown is just as important as Cliff’s eventual showdown with the Manson Family. Rick struggles. He fucks up his lines. He comes totally unglued in his trailer. This looks like the end of the road for him as an actor. He eventually gets his shit together, embraces the role and goes for broke. It’s a credit to both QT as a filmmaker and Leo DiCaprio as an actor that the villain Rick plays in the TV show ends up being more intense and visceral than the one he played in the main narrative of Django Unchained. Rick’s chops as an actor are restored and he decides to go to Italy and star in spaghetti westerns. He learns to maximize his talent in order to roll with the times.

A protagonist who is at odds with changing times might seem regressive or even reactionary to some people today, but it’s also a hallmark of westerns, especially the westerns of the late 1960s and early 1970s. From Once Upon a Time in the West to Butch Cassidy and the Sundance Kid, an impending future of railroads and industrialization is always treated with uneasiness by the heroes. These changing times aren’t going to include them. Their wild and free ways will soon come to an end. Nowhere is this theme most prominent than in the work of Sam Peckinpah. In many of his westerns, The Wild Bunch, The Ballad of Cable Hogue, Pat Garrett and Billy the Kid, the heroes are viewed as endangered creatures who are all too aware of their fate. The character of Cable Hogue even meets his end when a motor car rolls over him. He’s killed by the modern age! Another Peckinpah film from this era, Junior Bonner, is set in 1972 Arizona but can also be considered a western (creating a template for QT’s western that’s not set in the canonical “Old West”). The protagonist and title character is an aging rodeo star (brilliantly played by Steve McQueen, who perhaps not so coincidentally also appears in QT’s film). In Peckinpah’s film, Junior has lost his edge and returns home to take a breather and maybe get his chops back. His struggle is not unlike Rick Dalton’s. They’re both aging entertainers and they both fear they’re washed-up. And as with all of Peckinpah’s westerns, encroaching progress is a threat to Junior’s simple cowboy ways. All of these above mentioned westerns are filled with a bittersweet quality; a nostalgic snapshot that’s destined to become yellow and brittle. The power of myths is they suggest immortality for our heroes.They might be long gone but they live through these tales. Whether’s it’s the Old West of outlaws in dusty little towns or the Old West of ’69 Hollywood, people once lived in these places and they lived vibrant, foolhardy and sometimes dangerous lives. Maybe they didn’t live or die exactly as the tale accounts, but they did indeed live and they did indeed die.

In his film QT references another “man out of time” western: The Life and Times of Judge Roy Bean. Written by John Milius, directed by John Huston and starring Paul Newman, the film is a highly-fictionalized account of the life of Judge Roy Bean. At the climax an elderly Roy Bean reemerges from a self-imposed exile to have a showdown with businessmen who have surrounded his beloved town with oil rigs. When his enemies ask who he is, Roy Bean shouts “Justice, you sons of bitches!” This is immediately followed by a shootout in which Roy defeats his foes, blows up the surrounding oil rigs and goes out in a blaze of glory. In real life Roy Bean died in his bed after a heavy bout of drinking. What’s most interesting is how QT referenced The Life and Times of Judge Roy Bean. After the climax of Once Upon A Time… In Hollywood there’s a triumphant but wistful epilogue in which one of our heroes is faced with a future that we all know is a fantasy. Over this scene is an evocative piece of music that sounds like it’s from a fairytale and it plays over the end credits. The piece of music is entitled “Miss Lillie Langtry” and it’s the main theme from The Life and Times of Judge Roy Bean. Lillie Langtry was a British-American socialite Roy Bean was enamored with and he even went so far to name the saloon in his town after her. “Miss Lille Langtry” plays over the end credits of Once Upon a Time… In Hollywood and the opening credits of The Life and Times of Judge Roy Bean. But before the credits in Roy Bean we see written in storybook fashion:

“Near the turn of the last century the Pecos River marked the boundaries of civilization in western Texas. West of the Pecos there was no law, no order, and only bad men and rattlesnakes lived there.

…Maybe this isn’t the way it was… it’s the way it should be.”

With Once Upon a Time… In Hollywood, Quentin Tarantino pays homage to a socialite/actress who was tragically murdered before her time and two endangered heroes—one an outlaw stuntman, the other an entertainer—neither of who existed but men like them did. For two hours and forty-five minutes, the onward march of tragedy and time is defeated through a spirited, Old West mix of bravado and audacity. Maybe it’s not the way it was…

But it’s the way it should be.

[alpaca-clouds]

Solarpunk Stories and Western Sensibilities

Will I talk about this again?

I guess I will talk about this again. But to be fair, it is now a good year since I wrote the bigger blogs on this topic, so let me bring the issue up again. After all, it will come up in at least one blog each month, if not two or three: The core issue that Solarpunk fiction struggles with coming up with conflicts, while also sticking to the Utopian theming.

Last year I wrote four blogs on this: Three on possible conflicts that would not conflict with the Utopian ideas (1, 2, 3) and another blog on the topic of the Japanese genre of Iyashikei.

Yet, there will always be people blogging (or commenting on different blogs of mine) how Solarpunk people, who talk about this issue, "do not understand storytelling", and how you "cannot tell stories without conflict". And, well... Those people tend to be quite confused about storytelling.

It usually is quite clear that a lot of folks talking about this, come somewhere from one of the other Punkpunk-Genre. Mostly Cyberpunk. Because they tend to be quite obsessed with this idea of a dark conspiracy in the background of the world. Because they are too cynical to imagine a world that actually in general is good for the people living in it. And they consider this outlook as the only way to tell stories. This is one of the main issues, I think, when it comes to Solarpunk storytelling.

Because... Well, it is not just those nay-sayers. In general, there are a lot of folks in the Solarpunk-Sphere, who come from the Cyberpunk fandoms. And who really cling onto the ideas popular in Cyberpunk - especially modern Cyberpunk, that so rarely is really punk.

But I also think there is another issue: It is an issue with Western sensibilities. Because in the end this idea that all stories need a very strong central conflcit is very much a western idea. It is an idea that is central to a variety of Western storytelling traditions. Especially - of course - the storytelling traditions of the anglosphere and as well German society as well.

There are quite a few non-western and especially non-white storytelling traditions that do not cling to this idea of conflict as the central aspect to every single story.

Because here is the issue: There are a lot of different ways to tell stories. Of course there are. But because we in the West grow up with exclusively one style of it, making us think that it is the only style.

This would be a moment to tell people to go and read books, watch movies, and TV shows from other cultures. But let's face it: It is actually really hard to get your hand onto that kinda stuff - at least outside of Anime. While almost every single anime releasing out of Japan will get by now a simulcast, no matter whether they fit within western storytelling or not. Iyashikei does get simulcast the same way as your newest Shonen anime (which is way more western in its mentalities).

However, when you try to move away from anime, it becomes a lot harder a lot faster.

I mean, I cannot tell you through how many hoops I have had to jump before to watch certain movies made in Southern Asia or Africa. At times I was lucky and it was possible with VPN + Netflix. At other times it was impossible.

Same goes for translated novels. I mean, I still have a list of "novels I would love to read, but I do not speak the language and it was never translated into any language that I am familiar with". Especially stuff that does not usually fit western sensibilities. Because, guess what? Those stories just have a much lower chance to get licensed over here.

Still. I really want to urge people to question, why any story would absolutely need something. Be it a conflict or something else. Do you really think that it would be impossible to tell a story without that one element? Or have you just never tried?

Especially as modern storytelling very much reflects a lot on colonialist and capitalist mentalities - but that is a topic for tomorrow, I think.

[differentnutpeace]

'Jupiter's Legacy' Decodes The Superhero Genre Without Subverting It

You'd be forgiven for wondering how Netflix's Jupiter's Legacy compares to other recent entries in the glut of "Wait, what if superheroes ... but, you know, realistic?" content currently  หวย บอล เกมส์ คาสิโนออนไลน์

 swamping streaming services. (To be fair, this "realistic superheroes" business is something we comics readers have been slogging through for decades; the rest of the culture's just catching up. Welcome, pull up a chair; here's a rag to wipe those supervillain entrails off the seatback before you sit down.)

So here's a cheat sheet. Netflix's Jupiter's Legacy is ...

Less cynical and empty than Amazon's The Boys

Less bright and blood-flecked than Amazon's Invincible

Less weird and imaginative than Netflix's The Umbrella Academy

Less funny and idiosyncratic than HBO Max's Doom Patrol

Less dark and dour than HBO Max's Titans

Less innovative and intriguing than Disney+'s WandaVision

Less dutiful and disappointing than Disney+'s The Falcon and the Winter Soldier

Less thoughtful and substantive than HBO's Watchmen

Less formulaic and procedural than the various CW super-shows (which I include here only out of a sense of completism, not because they're aiming for the same kind of performative faux-realism that drive most of these other series).

It's unfair to make these comparisons, sure. But it's also inevitable, given the crowded landscape of superheroes on TV right now. And in every one of those comparisons, Jupiter's Legacy doesn't necessarily come up short (it's far better than The Boys, especially), but it does come up derivative.

Makes sense: "Derivative" is a word that got slapped on the comics series it's based on, by writer Mark Millar and artist Frank Quitely, which kicked off in 2013. Millar and Quitely would likely prefer the term "homage," of course, and after all, the superhero genre is by nature nostalgic and (too-)deeply self-referential. So the fact that so many story elements, and more than a few images, of Jupiter's Legacy (comics and Netflix series both) echo those found in the 1996 DC Comics mini-series Kingdom Come is something more than coincidental and less than legally actionable.

Showrunner Steven S. DeKnight and his writers' room have carved out only a thin, much more grounded slice of the comic's sprawling multi-generational saga, but they've retained certain elements of family tragedy and Wagnerian recursiveness, wherein the sins of the father get passed to the son. They've also, smartly, retained the multiple-timeline structure of the comic as a whole, though they've pared it down and stretched it out over these eight episodes, clearly hoping for a multi-season pickup.

Readers of the comics will likely grow impatient at how little of the overall saga is dealt with here, but this review is aimed at those coming to the series fresh, who will find more than enough in this season to satisfy — it's a whole story that hints at what's to come without slighting what's happening now.

The now in question switches between two eras. In 1929, immediately before and after the stock market crash, brothers Walter (Ben Daniels) and Sheldon (Josh Duhamel) are the sons of a successful steel magnate. Walter's the diligent numbers guy, Sheldon's the glad-handing optimist. Sheldon's rich, smarmy friend George (Matt Lanter) is going full Gatsby, and muckraking reporter Grace (Leslie Bibb) runs afoul of Walter and Sheldon following a family tragedy.

Sheldon becomes beset by visions that will put him and several other characters on a path to their superhero origin story. Be warned: The series doles this bit out even more slowly than the comic — settle in for seven episodes' worth of Duhamel clutching his head and shouting while trippy images flash by, hinting at his ultimate destiny.

In the present day, Sheldon is the all-powerful hero The Utopian, who is married to Grace, now known as Lady Liberty. Walter is now the telepathic hero Brainwave, and George is ... nowhere to be seen.

The series has fun playing with the disconnect between the two timelines — characters from the 1930s story are either missing, or drastically transformed, in the present day, and while later episodes connect some of the dots, many of the most substantial changes are left to be depicted in future seasons.

The present-day timeline instead focuses on the generational rift between heroes of Sheldon and Grace's generation and those of their children. There's the brooding Brandon (Andrew Horton) who strives to live up to his father's impossible example, and the rebellious Chloe (Elena Kampouris), who rejects a life of noble self-sacrifice and neoprene bodysuits for a hedonistic modeling career.

At issue: Sheldon's refusal to acknowledge that the world has changed, and that the strict superhero code (no killing, no politics, etc.) that he lives by — and forces others to live by — may be obsolete, now that supervillains have escalated from bank robbery to mass slaughter. Younger heroes, including many of Brandon's friends, feel compelled to protect themselves and the world around them through the use of deadly force.

Clearly it's a fraught cultural moment to have fantasy characters who can fly and zap folk with eye-lasers deal with that particular all-too-real real-world issue; several scenes land far differently than they were originally intended.

But unlike other entries in the superhero genre, Jupiter's Legacy is prepared to deal overtly, even explicitly, with something that films like Man of Steel and shows like The Boys too simply and reflexively subvert: The superhero ideal itself.

The notion that an all-powerful being would act with restraint and choose only to lead by example is what separates superheroes from action heroes. Superheroes have codes; that's the contract, the inescapable genre convention, the self-applied restriction that tellers of superhero tales impose upon their characters; navigating those strictures forces storytellers to get creative. Or at least, it should. The minute you do what so many many "gritty, realistic" superhero shows and movies do — dispense with that moral code, or pervert it, or attempt to argue it out of existence by portraying a villain so heinous and a world so fallen that murder is the only option, you're not telling a superhero story anymore. You haven't interrogated or inverted or interpolated the genre, and you certainly haven't deconstructed it. You've abandoned it.

Say this much for Jupiter's Legacy — it's not content to wave the concept of a moral code away, or nihilistically reject it. It instead makes its central theme the need to inspect it, unpack it, and truly and honestly grapple with it.

Which is not to say it doesn't stack the deck by portraying a fallen modern world not worth saving — it does do that, usually through the lens of Sheldon's daughter Chloe, who throws herself into a world of drugs, alcohol, sex and general narcissistic monstrousness. The show attempts to explain her sullen self-destructiveness as a reaction to her father's unrealistic ideals, but in execution, her scenes prove cliche-ridden and bluntly repetitious. It's one of several examples where the show's choice to focus on and pad out one small part of the comic's overall tale results in leaden pacing.

But even though it takes seven full episodes for the characters in the 1930s timeline to get to the (almost literal) fireworks factory of their superhero origin, it's hard to argue that it isn't worth all that extra time, as Duhamel, Bibb, Lanter and especially Daniels have a great time with the period setting. (There are two other actors who get brought into the superhero fold in this timeline, but they 1. aren't allotted nearly enough screentime to really register and 2. represent spoilers.)

The period details of the 1930s timeline (Lanter was made to wear a waistcoat; Daniels' pencil-thin mustache should win its own Hairstyle and Makeup Emmy), and the brewing conflict between the younger selves of Sheldon and Walter can't help but make those scenes much more intriguing to watch than those set in the modern day.

The ultimate effect is a lot like watching the 2009 film Julie and Julia, in that sense. If you imagine that Julia Child could fly and shoot lasers out of her eye-holes.

And, really, who's to say she couldn't, after all?

[honeymoonjin]

day 14

This chapter was such a cathartic experience for me that I wrote book report for it. I have little else to offer at your altar of magic aside from my undying gratitude for your continued hard work and utter awe of your literary prowess. Please enjoy my attempt at articulating the emotions you have managed to evoke in me with this chapter. Thank you once again! 💜 Jan

Set to Self Destruct: An analysis of Sora’s Day 14 of “The Gentlemen”

Every genre brings with it a set of expectations that shapes the kinds of stories it can tell and the themes it can explore. “The Gentlemen” is entirely shot from one specific location, with its participants prohibited from leaving the premises of the villa (with the allowance only for Y/N and the fan favorite winner of that week to leave for a one night date). This restriction creates a scenario where 1) at first the occupants fall into an unspoken, almost idyllic community and 2) inevitably the conflicts that arise as a consequence of a Utopian society. With the added pressures of a competition, an environment that fosters moments of high emotional tension, physical and emotional intimacy, and 8 very different personalities, it feels as if the show was doomed for dissonance right from the start. It should be no surprise that the rather straightforward, raunchy reality show devolves so quickly into a “bottle episode” filled to the brim with an emotionally charged battle of whose tongue is the sharpest. On the surface, “The Gentlemen” is a story about a single female protagonist judging the sexual abilities of seven random men but this premise and the setting with which the story plays out on, serves to explore the deeper ideas of one’s role in the balance of social harmony verses the human tendency towards self destruction. 

The setting of a story can be a powerful tool in expressing a character’s journey. “Bottle episodes” have often been used for dramatic effect in visual storytelling, with the limited setting and cast allowing for a slower pace and deeper exploration of character traits and motives. Having the entirety of “The Gentlemen” be one long drawn out “bottle episode” allows for the audience to experience a slow-burn like intensity of those personalities. It takes the fundamental process of how a group stuck in a certain location together for an extended period of time inadvertently falls into certain social constructs in order to reach an equilibrium of cohesion. The roles which each occupant of the villa naturally fell into set a precedent for many of the events that followed on the show, most obvious being Y/N as the “queen bee” (the one who holds the most power in the group), Seokjin as the designated “counselor” (the one who is expected to help his fellow competitors when an emotional issue arises), and Yoongi as the “mediator” (the one who is the voice of reason and rationale when tensions run high). And yet it is revealed that there is a price for that harmony, for even roles that are not as explicit begin to weigh heavy as the days wane on. The cohesion of these roles were meant to serve as cogs that fit together to uphold a sense of teamwork in an otherwise tension filled living quarters. But people are not cogs and emotions are not gears to be compartmentalized into neat roles to serve the higher purpose of the show. And as occupants spend more time with one another, natural biases, feelings of jealousy, possessiveness, envy, and pride start to surface under the umbrella of selfish acts, we begin to see that fine balance corrode the fragile peace. 

The road to self destruction has begun in earnest.   

It all comes to a head at the 2 week mark of the show’s timeline. At this point, tensions have been running high: from revelation of Namjoon’s and Seokjin’s romantic feelings for Y/N, to Jimin and Hoseok’s long running rivalry, to Y/N, Jimin, and Taehyung creating a polyamorous relationship in secret, to Jungkook feeling like the odd man out. The pressures of the show were eventually bound to break someone’s resolve and we see that personified in Jungkook in this episode. After speaking with Seokjin about his warring feelings towards certain members of the group and his desires to act on his frustrations regarding the restrictive parameters of the show, Jungkook was able to unload some of the pent up tension he had been carrying around for the last few days. The audience is then lulled into a false sense of security that the equilibrium of the group has been restored when in actuality, it was a red herring that something drastic was about to unfold. At first glance, the guidance that Seokjin offers Jungkook feels like a band-aid on a bleeding artery when in actuality it was more akin to Seokjin inadvertently stepping on a landmine he believes he has already defused. And his misstep triggers the entire villa to fall victim to the explosion. 

In the climatic scene of the episode, Jungkook’s pent up emotions rears its ugly head in the form of harsh words, tactless criticism, irreparably broken trust, and even fists thrown. His actions turn from verbal assaults to physical ones and the damage seems to fissure out towards the entire group. The destruction is absolute; no one is left unscathed. Why is this scene so effective? Its power is not from the dramatic way Jungkook punches Jimin for calling him out on his childish behavior or the out of character way Hoseok tries to break up the fight only to be elbowed in the face by Jimin nor is it in the heartbreaking way those that are left behind in the villa are tasked with the self imposed responsibility to pick up the literal pieces of their tenuous friendship. It is in the fact that the audience understands the self destructive actions of the characters and perhaps to some degree relate to it on a very human level. We understand that Seokjin wanted to talk through the problems with the group because he didn’t want to shoulder all of the burden himself anymore. We understand that Hoseok acts the way he does because he uses it as a defense mechanism to protect himself. We understand why Sejin did not step in earlier when he was asked to by Yoongi and why Yoongi is bitter about it as a direct result of Sejin’s choice to abstain from deescalating the fight before it got out of control. We understand that Jimin and Jungkook clashed with each other so viscerally because they see themselves in each other and it’s a jagged pill to swallow when presented with a mirror of all of the ugly sides of ourselves we think we do such a great job of hiding. Perhaps exaggerated for a more dramatic effect, but at the core of these interactions, we see the flaws that we carry as human beings and are forced to face the unpleasant feelings that it elicits in each of us. We understand because we can empathize with their struggles. 

How does a community attempt to repair itself when its very foundation is practically razed to the ground? Perhaps there is an argument to be made about a complete dismantling of a previous establishment. The audience can view this inevitable clash as a “controlled burn”. In terms of forest management, a “controlled burn” is a fire set intentionally for purposes of farming, prairie restoration or greenhouse gas abatement. These “controlled burning” is conducted during the cooler months to reduce fuel buildup and decrease the likelihood of serious hotter fires. In the same way fires are a part of a forest’s life cycle, the clash that occurred on day 14 might serve as a way for the characters to start fresh, with hopes of emotional maturity and foresight for rebuilding relationships moving forward in the competition. 

The damage done during day 14 of “The Gentlemen” may arguably be irreversible, perhaps even amplified by the uncertain nature of the show, but challenges were inevitable with a setting like this one. And yet, there are seeds of hope scattered among the debris. In John Yorke’s “Into the Woods: a five act journey into story” he writes “…story matches psychological theory: characters are taken on a journey to acknowledge and assimilate the traumas in their past… By confronting and coming to terms with the cause of their traumas they can finally move on.” Day 14 revealed a lot of stances, opinions, and confessions that were previously kept secret due to the need to preserve the harmonious nature of the greater good, “the community”. But human nature does not allow for peace to reign for long; it yearns balance. Thus dissonance created discourse. Yet from strife there is revelation. From the ashes of fiery emotions, there is a chance at peace anew: either reestablish order or embrace the chaos. Yet most likely it’ll come down to a melding of the two in order to find the balance a community craves whilst also giving into the character’s more baser human desire for self ruin. 

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jan i literally can’t stop crying thank you so much. there’s no way for me to put into words the feeling of someone caring so much about the story and even about one particular chapter that they’ve written such an articulate and profound ESSAY on it like,,,, i have no idea what i’ve done to deserve this, because writing this story is just this little passion project that i’m fostering with my brainstorming group and with the readers. it feels like a collaborative effort and so i never really saw it as anything more than just the fun gimmick of an interactive fic in a crazy situation. 

you see things in my story that even i don’t see, make it sound beautiful when i worried it was awkward, and i can’t thank you enough for that. and when you brought up Into the Woods i LOST it, i adore that book and hearing someone quote a masterwork like that when referring to my fanfiction? it’s so absurd but so special all at once. 

i’ve never really considered becoming an actual author because the pressure of money and income relying on it seems scary to me (even commissions stress me out) so i’m eternally grateful to you for always making me feel like this is something professional. getting a glimpse into that life by you writing an analysis on d14 is just.... i really can’t describe how special it is. 

every week i aim to make each chapter better than the last, and we have a very different landscape in the house on day 15 after our controlled (perhaps not so controlled) burn. i’ll patiently await your thoughts then, but i just want to say that you inspire me to work harder each week ;;-;

[butyouvealwaysbeenthecaretaker]

Sort of related to that, but the newest Tales of the City on Netflix is just so hilariously earnest and po-faced I can’t handle it.

I’m a huge fan of the books, but I only tuned in because I thought a narrative about a trans man possibly coming out as a gay post-transition was an interesting one to see.

And it’s dreadful, it sort of functions like a tumblr educational post. The way that the cis gay men around him are supportively neutral about his exploration process and positive about him coming out, the way that his cis girlfriend who has just agreed to an open relationship earnestly talks about how she misses being seen as a lesbian, it’s...you know, there is a fantastic movie to be made about this story, but you have to treat your characters as people rather than ideological widgets in which everyone is behaving correctly.

It’s queer-utopian to the degree of being actively unrealistic. Now, realistic doesn’t have to mean horrible. But the show just has everything just working out for the characters the way it’s supposed to, and it just doesn’t read as sincere. I didn’t see a story I could relate to.

~*~

A really good comparison point is actually Jake’s introduction in Michael Tolliver Lives, the book in which the character is introduced. Michael Tolliver is the author’s stand-in-self-insert who he’s been writing since 1970-something in a series of like, 7 books; he’s a HIV+ gay man and widower. Unique for the TOTC series, this story is written in the first person from Michael’s perspective.

Michael picks Jake up at a bar, they hook up, and afterwards stay friends and Jake becomes a series regular.

You’ve got Michael’s inner monologue of like, being worried that he’s going to mess up somehow and hurt Jake’s feelings, which reads as legit to me - he knows this isn’t as simple as a tumblr post about inclusion. And you’ve also got Michael making this strong connection between Jake’s transness and his own HIV+ status. Another guy at the gay bar outs Jake nastily to Michael when they’re in the loo; and it reminds Michael of the era in which people did that about him, when being HIV+ meant being a pariah. Michael thinks about how attracted he is to Jake, not only physically but also to his confidence, wondering how often he does this and knowing he is probably scared.

Maupin wrote the first trans character in american literature as far as we’re aware; he doesn’t always get it spot on, but his heavily autobiographical books always come from a place of inner truth and personal experience.

Like, I don’t want trauma porn or to see a character like Jake - my fave trans man in literature! not that there are many to choose from - harmed on screen, but I also don’t want this bland pollyanna-ish utopianism, especially when the original source handles this scene so well. I want complexity - I want conflict. Conflict doesn’t need to mean anger or violence, but it does need characters with fully-realised inner lives like...Jake and this random guy going home together, and the experience not being a simple one for either of them. It doesn’t need to show shame or abuse to be realistic, but it does need to be surprising or a moment of discovery, perhaps discovering something unexpected, or something that changes a person or is mixed, rather than just - and it was all OK. How often do trans people have sex with a stranger and the experience is one where “...but they supported and validated my gender identity, and that’s all I really needed, so I had a great time!” is the total reality of the experience.

And ditto with things like, the girlfriend’s response being so even-handely “I want to support him, but I miss being seen as a lesbian and I’m not sure how I feel about this being an open relationship” like, get angry, girl! Or, repress it. Or throw yourself into supportiveness as a cover for how you’re feeling. Or get a new girlfriend and have some proper poly drama. Or throw something at him, or throw him out, or endure it politely, or say no. Don’t just behave the way you’re supposed to in a single tell-not-show dialogue scene. Humans are messy! The conflict between what a person says they want and what they actually want is a ripe source for storytelling! What if the girlfriend has the worst possible response in the world, while knowing that it’s unethical and unkind, and her story is about trying to reconcile those two parts of her experience? I’d watch that.

(Case in point, I really love the protagonist’s wife in Victim (1961) - she’s a fantastic character, really nailing this middle ground where she doesn’t want to cause harm to her closeted husband, and she isn’t depicted as some kind of cludgel to beat the gay character for being destructively gay; but she’s still strong, about her own need to be in a real, mutual relationship, about feeling deceived. Perhaps the best line of dialogue in the film is hers, something like “I’m a woman, not a life raft, and I want to be loved for myself”. It’s fantastic writing, maintaining empathy for its closeted character in a way that’s radical for the period but also holding empathy for this wife as well, who quite rightly wants more from her life than to be a life-raft or a savior figure or a beard for this messy guy. idk how a 1961 movie arguing for gay rights has more compassion and understanding of the “ally spouse having a hard time with new information” character than a full 2010s series focused on queer people of all kinds)