#elegy beatty

[shinyzango]

I asked a while ago on Twitter to give me characters for another round of 6 fanarts, and I've only now managed to finally finish it OTL

[rolli-zolli]

HAPPY PRIDE MONTH!!

[kaissauce]

the lgbts, all of them

[amethystsoda]

I didn’t talk about it yet, but as someone who grew up very strictly religious, Anodyne 2 was so relatable—

Nova constantly being guided back to “the center” and told she had to stay in the lines and “eliminate all dust.”

There’s even specifically religious imagery and language in the game—reinforcing that the message is about finding oneself even amidst the “dust.”

That love and beauty can come out of what “the center” perceives as dirty.

The game definitely made me cry on multiple occasions 😭🌈

[elegybeatty]

I found ur blog through searching "elegy Beatty" trying to find character art to send to a friend and I might be about as obsessed with Anodyne as you tbh. I think it's just that kind of game? very obscure but the people who do know about it are so so into it

I was so excited about having a canon url for my fave obscure game that I failed to take into account that people might find my blog trying to find the character, lmao. Anyway, hard agree, Anodyne (and really every game made by Analgesic) is just one of those things where it just sticks with you. Both games have this ever-present haunting, dreamlike atmosphere, yet they still feel weirdly comforting to play. Not to mention the story of 2 is SO good. Really wish there were more fan content for it, I get so excited whenever I see any.

[secretly-a-catamount]

Thinking again about how The Crane Wives and Robert Beatty must share a brain, because of how well so much of their music matches with the Serafina Series.

Curses is Serafina talking to Braeden, a girl who is so tired of everything, a girl who, in her own eyes, will never be good enough, who thinks she’s cursed, a girl who feels so guilty about dragging her lover from his world into hers, a girl who creeps down the empty corridors of a house — her lover’s last named engraved on it like an elegy — with cobwebs in the corner, the backyard full of bones, knowing full well that war is always about to knock on their door, and burn them, ashes to ashes and dust to dust, because her enemies are after them both.

Tongues and Teeth and Never Love an Anchor is Rowena’s justification for leaving Waysa after he helped her heal from her wounds before the events of Splintered Heart, how she believed that every kiss would just leave Waysa bleeding, how, due to her father’s abuse and her own past actions, she thought that she could only ever hurt him, because she thought it was simply her nature to hurt and ruin and destroy.

Allies or Enemies is Rowena and Waysa’s relationship during Splintered Heart, once enemies who were then allies, Waysa having nursed her back to health in what Rowena considered a “moment of weakness”. Rowena, who felt guilty about how she treated him and the people he loved, Waysa, who forgave her for what she’d done, for disappearing. Waysa, who never doubted that she could change, even when she denied her feelings, even when she spoke words made of thorns and plagues and the cloying smoke of a wildfire.

The Garden is how consumed by grief and borderline suicidal Braeden was after he buried Serafina. Braeden, whose world was torn down by Serafina’s dying breaths. Braeden, who buried his best friend and lover — who was both his shield and his stone — with a spade and dug her up after she returned to life with shaking fingers. Braeden, who lied to his aunt and his uncle and the Estate as a whole. Braeden, who longed to make her grave their bed on his darkest days, who longed to give the crows who laughed at him their pound of flesh. Braeden, whom her ghost whispered to, when it returned in her blood-stained clothes, drifting into the manor from the window, pressing her lips to his neck, her teeth to his throat. Braeden, who considered a deal with the devil, the Black Cloak, if it meant saving her. Braeden, who fell to his knees and ripped up the ground with his bare hands until they bled.

Thinking about love and tragedy and broken children.

Thinking about the Serafina Series and The Crane Wives.

[tinsil]

in anodyne 2, there is a character whose name is a play on “lgbt”

[filmnoirsbian]

Things read in April

Articles and Essays:

The Challenge of Change

The Nuclear Family Was A Mistake

The Songs That Got Us Through the Year

Criminal justice algorithms: Being race-neutral doesn't mean race-blind

The Other's Other: Against Identity Poetry

During Ramadan, Israel Seems to Relish Attacking Palestinians

Amtrack is streaming an empty railroad on Twitch to beef with freight rail companies

The Inspiring Story of the Trans Actress Behind Your Favorite Pokémon's Voice

Japan's police see no evil

Who's There? Every Story is A Ghost Story

Attending to Technology

The magical miniature worlds of terrariums

Socialists Need to Take Back the Term "Emotional Labor"

In "The Green Knight," Chivalry Was Always Dead

I'm Deaf and I Have 'Perfect Speech.' Here's Why it's Actually A Nightmare

Found Images: On the nostalgia for image scarcity

The American Origins of the Not-So-Traditional Celtic Knot Tattoo

How Do You Mourn A 250-Year-Old Giant?

The Library Ends Late Fees, and the Treasures Roll In

Blue corn and melons: meet the seed keepers reviving ancient, resilient crops

Causes of Depression: Beyond Chemical Imbalances and Genetics

How Japan Built Cities Where You Could Send Your Toddler on an Errand

Reactive Abuse: What it is and Why Abusers Rely on it

The Reality of Reactive Abuse

Commonplace Books Are Like Diaries Without the Risk of Annoying Yourself

The Concept Creep of 'Emotional Labor'

The Meaning and Origin of 'April is the Cruellest Month'

Poetry:

Iowa City: Early April by Robert Hass

Elegy for the Four Chambers of my Brother's Heart by Steven Espada Dawson

The Boy Who Sells Sweet Oranges by Alicia Cadilla

When the Guest Speaker Told Us by Jennifer Saunders

April by Alicia Ostriker

April by Jean Valentine

A Little Closer to the Edge by Ocean Vuong

Our Wandering by Dawn Lundy Martin

Stricken by Jan Beatty

When I Think of Tamir Rice While Driving by Reginald Dwayne Betts

Books:

Steal Like An Artist by Austin Kelon

The Seas by Samantha Hunt

The Snowpiercer by Jacques Lob and Jean-Marc Rochette

[tgurlswag]

Elegy Beatty from Anodyne 2 has tgirl swag!

[oceanflowerrs]

replaying anodyne 2 and nova being uncontrollably gay for elegy beatty is still the cutest thing ever

[oberlincollegelibraries]

Weekend Edition: Essays, Part 2

We’re back today with more collections of essays. Remember to see our post Here for You to learn how you can access the following materials remotely. Even if you are not on campus, both printed materials and electronic resources are still available to you!

The Good Immigrant: 26 Writers Reflect on America edited by Nikesh Shukla and Chimene Suleyman

Presents essays by first- and second-generation immigrant writers on the realities of immigration, multiculturalism, and marginalization in an increasingly divided America. From Trump's proposed border wall and travel ban to the marching of White Supremacists in Charlottesville, America is consumed by tensions over immigration and the question of which bodies are welcome. In this much-anticipated follow-up to the bestselling UK edition, hailed by Zadie Smith as "lively and vital," editors Nikesh Shukla and Chimene Suleyman hand the microphone to an incredible range of writers whose humanity and right to be here is under attack. Chigozie Obioma unpacks an Igbo proverb that helped him navigate his journey to America from Nigeria. Jenny Zhang analyzes cultural appropriation in 90s fashion, recalling her own pain and confusion as a teenager trying to fit in. Fatimah Asghar describes the flood of memory and emotion triggered by an encounter with an Uber driver from Kashmir. Alexander Chee writes of a visit to Korea that changed his relationship to his heritage. These writers, and the many others in this singular collection, share powerful personal stories of living between cultures and languages while struggling to figure out who they are and where they belong. By turns heartbreaking and hilarious, troubling and uplifting, the essays in The Good Immigrant come together to create a provocative, conversation-sparking, multivocal portrait of America now.

Appalachian Reckoning: A Region Responds to Hillbilly Elegy edited by Anthony Harkins and Meredith McCarroll "With hundreds of thousands of copies sold, a Ron Howard movie in the works, and the rise of its author as a media personality, J.D. Vance's Hillbilly Elegy: A Memoir of a Family and Culture in Crisis has defined Appalachia for much of the nation. What about Hillbilly Elegy accounts for this explosion of interest during this period of political turmoil? Why have its ideas raised so much controversy? And how can debates about the book catalyze new, more inclusive political agendas for the region's future? Appalachian Reckoning is a retort, at turns rigorous, critical, angry, and hopeful, to the long shadow Hillbilly Elegy has cast over the region and its imagining. But it also moves beyond Hillbilly Elegy to allow Appalachians from varied backgrounds to tell their own diverse and complex stories through an imaginative blend of scholarship, prose, poetry, and photography. The essays and creative work collected in Appalachian Reckoning provide a deeply personal portrait of a place that is at once culturally rich and economically distressed, unique and typically American. Complicating simplistic visions that associate the region almost exclusively with death and decay, Appalachian Reckoning makes clear Appalachia's intellectual vitality, spiritual richness, and progressive possibilities."--Back cover

Victorian Comedy and Laughter: Conviviality, Jokes and Dissent edited by Louise Lee This innovative collection of essays is the first to situate comedy and laughter as central rather than peripheral to nineteenth century life. Victorian Comedy and Laughter: Conviviality, Jokes and Dissent offers new readings of the works of Charles Dickens, Edward Lear, George Eliot, George Gissing, Barry Pain and Oscar Wilde, alongside discussions of much-loved Victorian comics like Little Tich, Jenny Hill, Bessie Bellwood and Thomas Lawrence. Tracing three consecutive and interlocking moods in the period, all of the contributors engage with the crucial critical question of how laughter and comedy shaped Victorian subjectivity and aesthetic form. Malcolm Andrews, Jonathan Buckmaster and Peter Swaab explore the dream of print culture togetherness that is conviviality, while Bob Nicholson, Louise Lee, Ann Featherstone, Louise Wingrove and Oliver Double discuss the rise-on-rise of the Victorian joke -- both on the page and the stage -- while Peter Jones, Jonathan Wild and Matthew Kaiser consider the impassioned debates concerning old and new forms of laughter that took place at the end of the century.

Why I Like This Story edited by Jackson R. Bryer

On the assumption that John Updike was correct when he asserted, in a 1978 letter to Joyce Carol Oates, that "Nobody can read like a writer," Why I Like This Story presents brief essays by forty-eight leading American writers on their favorite American short stories, explaining why they like them. The essays, which are personal, not scholarly, not only tell us much about the story selected, they also tell us a good deal about the author of the essay, about what elements of fiction he or she values. Among the writers whose stories are discussed are such American masters as James, Melville, Hemingway, O'Connor, Fitzgerald, Porter, Carver, Wright, Updike, Bellow, Salinger, Malamud, and Welty; but the book also includes pieces on stories by canonical but lesser-known practitioners such as Andre Dubus, Ellen Glasgow, Kay Boyle, Delmore Schwartz, George Garrett, Elizabeth Tallent, William Goyen, Jerome Weidman, Peter Matthiessen, Grace Paley, William H. Gass, and Jamaica Kincaid, and relative newcomers such as Lorrie Moore, Kirstin Valdez Quade, Phil Klay, Viet Thanh Nguyen, and Edward P. Jones. Why I Like This Story will send readers to the library or bookstore to read or re-read the stories selected. Among the contributors to the book are Julia Alvarez, Andrea Barrett, Richard Bausch, Ann Beattie, Andre Dubus, George Garrett, William H. Gass, Julia Glass, Doris Grumbach, Jane Hamilton, Jill McCorkle, Alice McDermott, Clarence Major, Howard Norman, Annie Proulx, Joan Silber, Elizabeth Spencer, and Mako Yoshikawa. Editor Jackson R. Bryer is Professor Emeritus of English at the University of Maryland.

[quotespile]

Your daddy doesn't know his assonance from his elegy! And he calls himself a poet.

Paul Beatty, The Sellout

[elegybeatty]

HOLD THE FUCK UP, WHAT DO YOU MEAN THE GAME WAS EVEN THE OCEAN!? First off, how the hell is everyone gay!? There's a good amount of gay couples, but everyone else is either straight or it's never confirmed what they are because it's in no way relavant. And for those characters who ARE gay, it doesn't effect their character at all, nothing would change if they were in a straight relationship. Secondly, of ALL the Analgesic games to accuse of having characters whose only character trait is being gay, why wouldn't they choose the game with the character literally named "Elegy Beatty!?"

I’m sorry but this is a negative?

[kaissauce]

sgjskgsjkdgjskldgjskdg they are gay and happy

[voguingtodanzig]

Reading 2019

*Dean Young, Elegy for the Last Male Northern White Rhino

Larry McMurtry, Lonesome Dove

*Bret Easton Ellis, Imperial Bedrooms

George Pelecanos, What It Was

George Pelecanos, The Man Who Came Uptown

Jill Abramson, The Merchants of Truth

John Preston, A Very English Scandal

Bret Easton Ellis, White

George Pelecanos, The Double

Gioacchino Criaco, Black Souls

Nathan Ballingrud, The Visible Filth

Don Winslow, The Border

Don Winslow, The Power of the Dog

Chris Ott, Unknown Pleasures

Ann Beattie, A Wonderful Stroke of Luck

Hanif Abdurraqib, Go Ahead In The Rain: Notes to A Tribe Called Quest

Ted Chiang, Exhalation: Stories

Ryan Chapman, Riots I Have Known

Robert Caro, Working

William Gibson, The Peripheral

Neal Stephenson, Fall or Dodge in Hell

Robert Macfarland, Underland

George P. Pelecanos, Nick’s Trip

Chuck Wendig, Wanderers

Sean Howe, Marvel Comics: The Untold Story

Father Frank Moises & Billy Lempkins Jr., Kriegspuppen 

Colson Whitehead, The Nickel Boys

George Pelecanos, Drama City

Albert Chen, Billion Dollar Fantasy

Michelangelo Matos, The Underground Is Massive

Haben Girma, Haben's Story

*Kim Gordon, Girl in a Band

Ronan Farrow, War on Peace

Steph Cha, Your House Will Pay

*Bret Easton Ellis, Lunar Park

*Don Winslow, The Border

*Bret Easton Ellis, Less Than Zero

*Bret Easton Ellis, Imperial Bedrooms

William Gibson, Count Zero

Felicia Anheja Viator, To Live and Defy in L.A.: How Gangsta Rap Changed America

William Gibson, Mona Lisa Overdrive

James Lee Burke, Feast Day of Fools 

*re-reads

[elegybeatty]

woagh! elegy beatty!

Real and true!