#it lends to the cyclical feeling of this whole thing and the way our protagonist feels drained and alone at the end

[terranoctis]

epic ii

As usual, there are spoilers for stories I’ve read below. You’ve been warned. Seemed fitting to finally finish up my writeup on the stories I read after the long day January 6th has been, and honestly rather fitting that the first novel I read this year was one about tolerance and diversity in an urban fantasy.

1. The Bear and the Nightingale by Katherine Arden

I confess to being somewhat limited in my awareness of Russian folklore, but from what I do know from having read other books, I would say this novel is perhaps one of the best I’ve read in that vein. Arden writes fantastically in the way she weaves fairytale and folklore together to present a medieval Russian society that has magic and spirits. It’s a novel that reads much like an old folklore story while still having intriguing characters that drive the novel. Vasya is a strong and determined protagonist, and the way her interactions are written with the various spirits around her home, as well as the human characters are complex in ways that continued to surprise me throughout the book. It’s not an overly complex plot, but the charm of the novel lies in how it reads as a fairytale and is told beautifully in that same kind of folklore vein. I’m also struggling now to think if I’ve ever read a fantasy novel that has depicted snow as wonderfully as this novel, because I can’t recall a different one. It’s a novel that made me love curling up in bed, under my blankets, while I was exploring the Russian woods with Vasya. It felt like a fitting novel in the wake of the holidays in December (which is when I read it). I do think the ending could’ve been stronger, in terms of how the main conflict was resolved, but I also believe that it set up future stories. I’m excited to see how the rest of the trilogy plays out because I thoroughly enjoyed this one. I ended up staying up to finish this one because I wanted to keep reading.

2. Down Among the Sticks and Bones by Seanan McGuire

I love the general concept of The Wayward Children as a series, and I find that the concept of different worlds these children get lost in cements its foothold further with the twins Jack and Jill, moreso than in the previous novel. It’s not the longest read, but one that casts the magical aspects of world-traveling in a more somber light. The thing that surprised me more was that I felt this was less a tale of the horrors of the world Jack and Jill walked into than how it was a commentary about the monsters we become because of our upbringings. We learned from the first book in the series that Jill is a murderer, and this novel really cements how and why she becomes one, in all the confused nature of a child who wants affection. We see the way the neglect and the controlling nature of their parents drive the twins to act in certain ways that are out of the norm or are cruel. We see the way their natures are nurtured or twisted further based on the upbringings they receive in the moors; one receives mentoring and kindness, while the other receives twisted affections based only on loyalty. The story is presented as a gothic fairytale, and is wonderfully crafted, though it lends itself towards a type of cautionary tale. It feels somewhat incomplete, as we don’t get to see them returning to the world, but as a stand-alone tale of their loss of innocence... or rather, never being able to live through innocence because of their parents, it’s a strong read. I would dare say it’s a better read than the first because it allowed us to focus on a smaller cast of characters and the setting of the Moors with vampires and doctors who could bring people back to life was rather intriguing.

3. The Burning God by R.F. Kuang

Finally, the last novel to what has been one of my favorite series these last few years has been finished. It’s been rather rare for me to read fantasy novels written nowadays that write of the strains of militaristic war in both a brutal and tender manner, but R.F. Kuang has that down to a T. This may be because R.F. Kuang has done her research and study very much into the history of war in China and Japan (and in colonial warfare), but the trilogy and this novel are exceptionally well-written because of it. I recognize understanding of military campaigns and colonialism when I read it, and it’s well-conveyed in the novel. The story shines, however, because of the way the core characters are written. It’s anchored by the complex characterization of the main characters, which is the truly compelling part of the series. 

I’ve written several pieces before about how Runin, or Rin, is an anti-hero that truly would be the villain in any other story of this world. We sympathize with her because she is the protagonist we follow, but we understand as well the horrors of who she is becoming, down to the very end of the novel when she becomes the mirror of the man who hurt her and haunts her. The novel (and perhaps this trilogy), in a way, is about this desperate struggle of young soldiers who went to extreme measures to keep their country safe and united, only to understand that they’ve inherited a history of warfare and a bucket of problems from their predecessors. It’s about youth who fought for their ideals only to understand that their ideals would not yet be achievable due to the complexity of the world--and the trilogy ends on that note, with that ringing, cold reality. And we understand why, even if it’s such a painful ending. Sometimes, even forces like gods have to fall to the world or go insane before they recognize that. Even though Rin has a god in her head that is driving her insane, I also took her selfishness and insanity at the end as a presentation of post-traumatic stress disorder.

I think R.F. Kuang succeeds at writing suffering in her stories in a sympathetic manner, because I feel so much even when I recognize that such actions certain characters take are twisted. It’s a fitting ending, even if it’s such a fucking cold one. I knew from the very beginning of this trilogy that there wouldn’t be a happy ending for Runin. I hoped there would be for Kitay, but the truth is, he also stayed with her and chose that route, so there would never have been a happy ending for him either. No one wins in war. And sometimes violence is truly a cyclical story in more ways than one. 

This wasn’t a perfect novel and I don’t think it was my favorite of the series, but it’s one I deeply enjoyed immersing myself in. It was a strong, and in my opinion, a fitting end to what was a sprawling, wonderful trilogy about the monsters people can become for their ambition and ideals in war. Might have been kind of fitting that it was the last story I finished in 2020.

4. The City We Became by N.K. Jemisin

I have heard numerous times that Jemisin is a brilliant writer, and though this is my first novel of hers, I can understand why such glowing praise has been given to her. This is an urban fantasy novel about cities being living beings, and the way it’s written is so utterly unique and charming that I can’t help but marvel at how she came up with it. I’ve read briefly that she might be inverting Lovecraftian themes, but as I’m less familiar with Lovecraft, I have no insight into my reading on that. Moreover, though I have an outsider’s view of New York City, I recognize this novel as one of the most elaborate love letters to New York City and its diversity I’ve ever read. I’m not a city girl, but if there is one city I love, it is New York--and this novel made me miss being in New York. 

It’s also a novel that is acutely aware of diversity in various ways and the reactions people have to diversity. I feel like this novel is one that is good to read in light of all the issues we have in institutional racism and how conversations are being held on extreme opposites in the spectrum, because Jemisin doesn’t shy away from it. One of the boroughs of New York, in fact, is represented by that kind of human who leans right, with prejudiced views given to her by alt-right parents and upbringings. It’s easy to forget that in a liberal city like New York how different conversations and views of the world are being had, but New York is a world in itself, of both people who have lived there all their lives and people who flock there from different cities. I love that the people who represent New York as living entities of the city are so very different--and that New York requires six people to represent it. Whether it’s Padmini as a non-citizen, Manhattan as a stranger to New York, or Brooklyn who has lived there all her life--there are so many walks of life in this city that are so emblematic of New Yorkers. And if anything, this novel is a hopeful story about that kind of diversity and how it comes together in adversity against entities that hope to bring it down. 

As my first novel of the year, I’m thrilled that it was such a brilliant read that weaves in matters that seem highly relevant to me and the society I live in. It was also one that seems to cast the conflict in shades of white supremacy and racism--or even just simple prejudices on various levels. Even the character that I’m prone to find a little more disdainful for being extremely conservative (Staten Island) I find a little sympathetic, because I’m witness to her upbringing and how people can twist those beliefs or hammer it in further (in this case, through the Woman in White and her desire to destroy the city). I’ve read numerous stories from fantasy and science fiction, but I don’t think I’ve read one that feels quite as modern or in the present as this one. There are many ways to interpret the whole concept of cities and the universes they kill for simply existing, but the complexity of it makes me fascinated. I’m looking forward to reading the rest of this trilogy and her other books, because she’s absolutely fantastic at worldbuilding and weaving in themes that make you think. Is it the most perfect novel? Do I think the last part of the novel has the greatest resolution? Not exactly, but still what a damn good read. 

It’s a novel where the main characters are all people of color and depicts a choice white character as a stereotype and an enemy. I suspect that may make some readers uncomfortable, but to those readers, I would ask them kindly to consider how many novels people of color have read over the years where they were marginalized, stereotyped characters. It’s the same kind of question those who denounced BLM movements entirely on the premise of All Lives Matter. Somehow this book feels like it mirrors our world and current events, even in a fantasy world. It feels more so, in the wake of BLM and the attempted coup that happened less than 24 hours ago.

As an aside, I love Veneza and Padmini.

[spnnmp-blog]

Revised proposal

Perennial  

Throughout my negotiated major project, I will be working on an abstract moving image piece called 'Perennial'. Perennial is a triptych of live action short films with each film a continuation from  the last in narrative. Each narrative will be re-worked and become a version of the characters reality, one being the normal everyday reality, one being the possible future given a positive action and one being the perceived future when the character allows the depression to skew his outlook . The basis for the narrative comes from my own experience with depression, the need to solidify ones place in history and the way depression both fuels and simultaneously holds us back from achieving this. This will be told through the dialogue that will tell the stories of mine and others (through research) thoughts that create this anxiety about the acknowledgment of our own mortality. This is a subject that I think every person deals with at least some point in their life, even if not on a regular basis like my with experience. Each version of the narrative will explore different versions of the characters reality given a different outlook.  

As the name (Perennial) suggests I think depression is cyclical, never leaving the person completely but something we must learn to work around and find ways in which to live with. Due to the fact that my project is more abstract and ambiguous in nature, the character will remain nameless throughout the different incarnations which allows for a more introspective interpretation of the narrative. This mirrors my own mindset going into the project. This is the first time I have approached my illness from a creative standing and may prove to be therapeutic. Similarly, I want this exploration of emotions to translate to the audience leaving the narrative open ended and non directional should lend to a more generalised and accessible reading.  

I think that because of the nature of the work in it's experimental and abstract form, the visuals lend themselves to a more simplistic aesthetic. I initially started looking at the narrative in the form of a more classical short film structure (Act 1,2,3 etc) but since working the narrative into what it is currently I think this structure would not be applicable. I am going to have the protagonist in a very simple and common setting such as in a bedroom – being a personal and safe environment, it's often where the person lives most truly with their mental health – talking directly to the camera in an almost interview-like set up. Each version of the narrative will be differentiated both in aesthetic and in position when shown.  

The visual look of each incarnation will be shown through the colour palate used when lighting the scene. The 'reality' scene will be shot with very hard but natural lighting, creating an almost chiaroscuro look with hard shadows, mirroring the black and white routs discussed in the narrative. The idea for a contrasting and opresive lighting choice in this scene came from David Lynch's own student film The Grandma in which this lighting style has been used to mirror both the dream like state of the child character but also the abusive relationship he has with his parents. The 'positive future' scene will be lit with softer, diffused light with warm and pleasant tones such as yellow and pinks. This idea again, can be attributed to an article I read featuring the cinematographer (Linus Sandgren) taking about his involvement on the recent film La La Land,  in which he states that his use of natural light for the most part is intentional in order to give these more experimental and colour rich scenes more punch and effect. In La La Land, this is most noticed in a sequence where the two main characters are finally reaching an equilibrium with eachother where both of their dreams and aspirations are about t ocome true. The scene is a simple one, the two characters talking in bed, but instead of using a normal blue and under exposed look to signify night, a vibrant and neon esc colour palate of reds and yellows was used to mirror this pleasant and very romaticised time in the characters lives. The 'negative future' however will again mirror this attitude with even more contrasting and oppressive lighting with unfamiliar and un natural colour palates such as greens and reds. The general inspiration for this comes primarily from Panos Cosmatos's 2010 film Beyond The Black Rainbow in which each sequence follows very drastic and different lighting choices with a lavish use of colour and shadow to indicate the characters emotional and also physical situation. I have been experimenting with this idea through my professional work (creating live session videos and music videos for bands) in which I create saturated and colour filled visuals through lighting.  

This  project will extend my knowledge in the field of cinematography and camera work in as far as giving me more experience in creating images that mirror the mood and ideas behind a piece - something that is very applicable when translating music into visuals. However, it also allows me to gain experience in a more broad cinematic setting. I will get to experiment with working in a directorial roll and dealing with actors and the whole production management side of things but on a more practical level, it gives me experience in recording and writing dialogue. This is something I've never attempted before but would be a useful skill to have a foundation knowledge in for when I leave university and look for internships and jobs within the film/T.V. production arena. Having these foundations means that I am not only more capable at stepping into a roll on offer but it also further allows my personal work to grow in the future. From doing this piece, I may be able to undertake a similar or even more ambitious one.  

I will not be undertaking this project alone however. I will be recruiting fellow creatives to help me gain the knowledge and apply it in the relatively short time scale. I will be getting a soundtrack commissioned through a local producer (Jack Scarlott) who has recently produced soundtracks for trailers and documentaries. In this field, I have also contacted a sound engineer to help record dialogue to a high standard and to give pointers on how to best mirror the visuals through this. In writing, I have a close friend who is also studying at the university in Creative Writing strand who has agreed to help me refine my narrative and the dialogue itself. I think networking in this way is key to success in creative indstries. The fact that I will have crossed these creatives radar and shared my work with them may be bennificial in the future to get contacts for work and progression with my professional life.  

I think that in undertaking Perennial, will be beneficial not only creatively but also in my personal experience with depression and mental health. It will allow me a  vice to express my feelings on the subject and allow for others to read into that and take their own interpretation based on their own personal experiences and outlook. It may also challenge peoples ideas around depression and give them an insight into one of many forms it can take, something which I think is very important and vocal at this point in time. I aim to release the project as a singular video for video hosting sites, each narrative after each other in succession but after a trip to the Whitworth gallery in Manchester to see Artist Rooms featuring Andy Wharhol art work, I got the idea, based of his depiction of death in his 1978 artwork Self Portrait With a Skull in which he duplicates this portrait several times next to each other using different colours in the printing process. Having the very similar images next to each  other like a typology allows for closer inspection as to the relationship between each repetition. This gave me the idea to present the videos in a gallery setting by projecting each scene onto a 3D object hung from the ceiling with the idea of experimenting with 3D audio spaces and directional speakers. There is a discussion to possibly laser cut into the object something to further the narrative. Either way, this tangibility and 'walk around' appearance of the video will give it weight and importance inside the room as opposed to a more classical screen/ headphones set up.