#or new imagery and extended metaphors

[obitoslay]

my sasuke fic isn’t abandoned even tho i haven’t updated in forever ive just been soooo busy in the last like 8 months. re-reading my fic and it’s pure mental illness. so much going on. pondering my orb… getting some thoughts out… will enter writing hibernation again especially as i finish my joongdok fic

[litany-writes]

solar eclipse

[cripplecharacters]

This might not be relevant to this blog, but I kinda want a second opinion in case it might hurt people. I'm making a webcomic and when I introduce new characters I like to share playlists that represent them with the audience. One of my characters is a burn survivor with scars (resulting in limb and facial differences). I have the song Burn Alive by The Last Dinner Party on her playlist because I feel like the lyrics and theme really represent her character arc, but now I'm concerned that the imagery of "burn me alive" that occurs in the song might be upsetting, especially in relation to a character who is a burn survivor. Should I take it off, or make a note to go with it, or just leave as is?

Hello lovely asker!

I think this is okay even if it is in relation to their disability because they're is a lot of music that does talk about disability.

The Glass Passenger (Album) by Jack's Mannequin - About his cancer and treatment

I can't feel by Yours Truly - written about POTS

Moulty by The Barbarians - written about his hand amputation

I'm not gonna miss you by Glen Campbell - about Alzheimer's

Hospice (album) by The Antlers

Pain by Of Mice and Men - Marfans syndrome

There's even a lot of music that a lot of people with disabilities relate to also (I found and went through my old angsty early 2010's playlist to find these so excuse the selection 😅)

Runs in the family by Amanda Palmer

Medicine by Hollywood Undead

I'm so sick by flyleaf

Migraine by Twenty One Pilots

And probably so many others. This extends to even classical music as well

String quartet no.8 by Shostakovich

Symphony no.8 by Alfred Schnittke

Requiem in D Minor by Mozart

Other composers like Shumann and Ravel all have works that they wrote when they were Ill as well. A lot of surviving compositions during WWII era are also regarded as an example of the trauma/PTSD/anxiety/depression that was not uncommon during the time.

The whole point in music is expression, connection, and relation. The music says what you want it to say about your character, and there is that association. Disability has long been used in a metaphorical stance in poems and songs and even in our everyday language. I think if the song portrays it at something negative like using slurs or saying that the aftermath is something "Ugly", using the metaphor as something harmful or any other sorta negative language, then yeah it might be best to leave it out.

If there isn't any then it seems fine. If you're worried you can always remove it or maybe put those little note by each song and why you choose them and how they relate to the character! Even look up and see if you can find music made by other burn survivors and if any songs fit into the playlist for your character!

Hopefully this is helpful!

~ Mod Virus 🌸

[thatgaiagirl]

Hello I’m back on the Cyberpunk brainrot and currently thinking too hard about Goro Takemura - specifically as I was replaying it he reminded me of a specific Yokai I remember hearing about years ago and when I did more research on it DAMN are there parallels - and I’m more inclined to write this because Takemura himself has a mystical streak in-game as shown by the Bakeneko conversation.

Specifically, I can’t help but compare him to the Inugami (basically translates to ‘spirit dog’??? Idk my Japanese is shaky at best)

First off, Takemura is DRENCHED in dog imagery. Johnny calls him a ‘Well-Trained Dog’, Takemura claims he can’t pursue his ideas of leaving Arasaka because ‘You cannot teach an old dog new tricks’, and there’s the general running theme of his character being undyingly loyal to his masters, no matter what else.

He was also ‘trained’ by Arasaka after coming from nothing - living in the worst slum of Japan, being recruited as a child and put through intense conversion to become Saburo Arasaka’s bodyguard. Even the way Takemura describes Saburo picking him from a lineup of potential candidates reminds me of someone picking up a rescue dog from a shelter - all lined up, until one catches their eye for no particular reason.

The Inugami functions as a familiar, created through extreme cruelty and undyingly loyal to its master. There are a few versions I found for its creation, but the most common one is a Dog being either tied up just out of reach of food or buried up to its neck with food in front of it, slowly starving until it’s head is cut off at the height of its desperation for food. Then the head is buried under a crossroads, the foot traffic angering the already tortured spirit, before the head is mummified and hidden somewhere on it’s masters estate, creating a ghost familiar willing to do whatever its master says. Usually in art an Inugami is depicted as a dogs head on a pile of robes.

I just… it fits Takemura so well. He was starved, literally and figuratively in Chiba-11, placed just outside of the reach of food, just outside of the Arasaka soldiers patrolling through his district. The crossroads, the foot traffic and AVs of the only people that might save him driving him into desperation, washing himself clean in toxic waters so they might take him. Hell, even his design in-game makes it look like his head is the only ‘real’ part of him left - sliced off and preserved, before placed on a new chromed out body branded neck-to-toe with the Arasaka logo. Inugami can be loyal to just one master or to a family, and Takemura will do anything for what he considers the rightful heads of the Arasaka family despite all the pain and suffering they’ve put him through.

This metaphor extends to the other Arasaka bodyguards, too - Oda obviously has similar cybernetics that emphasises his head as ‘real’ and is similarly undyingly loyal to Hanako, and ESPECIALLY Adam Smasher falls into this. The man died and was literally rebuilt by Arasaka - no matter how rabid or violent he is, he will possess, kill and torture anyone he is ordered too by his masters.

And the sad part is, in the Inugami legend, apparently it’s possible for the spirit to turn on its master if it’s mistreated enough. But Goro never does. Even in the Tower Ending, even in the worst case scenario where he’s a wanted man on the run with no ties to Arasaka, he STILL reeks of loyalty to them. The ‘bitter medicine’ of V forced him out of his old life, and you can tell he wants it back. If Takemura ever realised how fucked up Saburo and Hanako truly are and turned tail, maybe he’d get a happy ending - but his loyalty, forged with starvation and suffering, prevents him no matter what. Like a good dog.

[santoschristos]

Tlazolteotl

My heart is a flower, the corolla opens; Ah! It is the mistress of midnight and She has arrived Our Mother, the Goddess Tlazolteotl. (Hymn to Tlazolteotl, from Baéz-Jorge 101 -- Los oficios de las diosas [The stations of the goddesses) Powers and Abilities

Tlazolteotl is a deity encompassing diverse realms, representing sexuality, vice, purification, steam baths, lust, filth, and serving as a patroness of adulterers. Her influence is paradoxical, as she inspires both carnal desire and sinful behavior while simultaneously offering absolution and forgiveness. Additionally, Tlazolteotl is intricately linked to lunar and agricultural attributes, symbolized by her association with the jaguar and the ritualistic calendar.

In her role as Tlazolteotl-Tlaelcuani, the forgiver of sins, her clergy actively engages in hearing confessions and providing absolution. Tlazolteotl’s dominion extends across both the material and the spiritual realms. She ignites desires within mortals, weaving threads of temptation that lead to transgressions. Yet, she also facilitates absolution through confession and ritualized cleansing, especially in the context of sweat baths.

Tlazolteotl’s power is manifested in the realms of steam and filth, both in the literal and metaphorical sense, showcasing her unique ability to transform impurity into purity. As a deity presiding over childbirth, she guides new life into the world, simultaneously weaving the threads of fate for newborns. The intricate duality within Tlazolteotl’s influence reflects the complex interplay between desire, sin, purification, and the cyclical nature of life. Tlazolteotl Image: Mahaboka

[mastermindmp3]

Chloe et al.

Chloe or Sam or Sophia or Marcus (hereby referred to by Chloe et al.) is a very classic Taylor Swift song. With a strong emphasis on the lyrical twists on phrases, distinct visual imagery, and an understated backing track (the piano is crystal clear, and the later backing vocals are so lovely.)

We see that idea of a distinct visual in the opening lines. The speaker describes "Your hologram stumbled into my apartment, hands in the hair of somebody in darkness, named Chloe or Sam or Sophia or Marcus, and I just watched it happen."

Describing her (presumably, lover) as a hologram implies that they are not, truly, real. They are not grounded, not a physical thing she can have. Later in the song, she mentions a lover who "needed drugs more," so this hologram-state could also imply that they are under the influence. Her lover has their hands in another person's hair; they are bold enough to bring their affair almost to her door, with someone the narrator can't even see. The names dropped in this opening are not literal people, but the kind of exasperation of "who is it this time?" names listed from the top of a hat. They are, also, rather generically common English names.

And I just watched it happen. The narrator, knowing that her lover is not solid, not real, doesn't seem to bother to stop them. She goes on to describe how the two drift over "the decade," and how her lover, too, "just watched it happen."

(Also, I love the use of the phrase "saw my bones out with somebody new." If her lover is a hologram, unreal, then she is bones - solidly real but dry, dead.)

An interesting point in all of this is ambiguity. The narrator doesn't know who her lover is seeing in darkness, and she addresses this song directly to her lover(s?) I did see an analysis bringing up that the speaker could be addressing two different people, as the chorus's main refrains imply different types of relationships.

If you want to break my cold, cold heart, just say "I loved you the way that you were." Here, it sounds like the narrator and her lover have been together for a very long time, and her lover no longer loves her present self, longing for her before the change. If you want to tear my world apart, just say you've always wondered. This, on the other hand, implies a lover who is returning, who is tempting her with old times.

This reading is also propped up by other songs from the Tortured Poets Department which confirm the idea (Who's going to stop us from waltzing back into rekindled flames) However, I like that it is also left in the dark, even for the listener. Who is left wondering if they could've made it? Who said they loved her the way she was?

The final verse ponders her lover(s), and has my favorite extended metaphor I think Swift has ever written. "Can we watch our phantoms like watching wild horses, cooler in theory but not if you force it to be; it just didn't happen." It's so direct: We tried to force this relationship to work, and it broke down. The idea of phantoms as past lovers (dancing phantoms on the terrace / my beloved ghost and me / well, me and my ghost, we had a hell of a time ) is scattered throughout the Tortured Poets Department.

Yet, the question goes unanswered - all her questions do. She doesn't know if it'll be enough to "float in your orbit," if the memory can fade from this "scarlet maroon." Chloe et al. much like its title, is a song uncertain, and in that uncertainty, the speaker reveals a bit of her heart, the held anxiety like a breath underwater. The only actual conclusion the narrator comes to that she will wonder.

"Will I always wonder?"

[chelledoggo]

My Analysis of "Lazarus Drug" by Meg Washington, and how it pertains to Bluey's "The Sign" [MASSIVE BLUEY SPOILERS]

(This post is going to deviate from my typical "all lowercase" typing style because I kinda want it to be taken seriously lol.)

So, I was doing some dishes earlier, and I started thinking about the song "Lazarus Drug" by Meg Washington. I started mulling over the lyrics and thinking about how it was used at the ending of the Bluey special "The Sign." The wheels kinda started turning and I felt compelled to attempt to present my interpretation and the thoughts I have about it.

Now, I'm not a music theorist or a seasoned philosopher or TV critic. I'm just about as much of a layperson as one can be. I'm just kinda calling things as I see them.

Although only the final portion of the song was used in The Sign, I wanna go over the full version of the song to give a better understanding of what all the pieces mean put together.

This probably won't be a play-by-play of every lyric (because I'm not that smart lol), but I'll do my best to get the point across.

Let's begin!

[MASSIVE BLUEY SPOILERS BEGIN BELOW THE CUT]

I am asleep, I am a slug I am a thief, I am a thug

The first lines of the song give the impression that the singer perceives herself as an impure person. She seems to bring attention to her vices of focusing too much on the self to the point where it could potentially hurt others.

You are grace, you are belief You are a Lazarus drug

This is where the song title comes in, and this section in particular is clearly very heavy on Biblical imagery.

Lazarus was a figure in the Bible, specifically the Gospel of John (John 11:1-45). He died of illness and had been in the tomb for four days. Jesus loved Lazarus so much, that he had wept upon the confirmation of his death. He then went to the tomb where Lazarus lie and resurrected him.

Note how the singer refers to the subject as a "Lazarus drug." When you think of a drug, you think either of something meant to treat an illness, or something meant to give someone a high. However, in this case, I think it's both.

Meg Washington said the following in an interview with ABC's (Australia) Double J radio station:

"'Lazarus Drug' is a song about love and euphoria and revival. It's really just an ode to whatever it is in your life – or my life – that makes you feel like rising up and floating in the middle of the air and splitting into light beams of happiness. "Writing this song was really special for me, because every time I sing it I feel the same way that I felt when I wrote it. I really wanted to make something that sounded like how we can make each other feel if we try very hard to share love."

The subject of the song is a loving, caring figure. You could even argue that they are a Christlike figure. The love and compassion that they extend to the singer not only heals their pain, but makes them feel high, as illustrated in these lyrics a few lines later.

And when you make A perfect circle in the sky I get so high I get so high I'm like a planet And I can't come down Oh, I can't come down

The next verse begins like this:

You are an angel And when you weep, the heavens rain I am a mermaid, eating at the sushi train

The "mermaid at the sushi train" metaphor is kind of up in the air, but I believe it might once again be highlighting the singer's selfishness.

Like, why would a mermaid be eating sushi? Why would she be eating her little fishy friends? Like imagine if Ariel was advertising frozen fishsticks... Oh wait...

It seems like a metaphor for thinking more about your own hunger rather than the needs of those you're meant to care for.

We sort of see this in both Bandit and Rad's subplots in "The Sign."

Bandit gets this high-paying new job in another city. He's going to have to uproot his family's life and take them away from the people they love and care about in Brisbane. However, Bandit doesn't really seem to consider too much how this might emotionally affect Bluey and Bingo. The way he sees it, he's doing the right thing. He believes he's guaranteeing a bright and comfy future for the Heeler family. He means well, of course. But in this case he's being so short-sighted that he doesn't seem to really take his family's feelings into account.

Likewise, Rad plans to move himself and Frisky out west after their wedding... Except that he didn't bother bringing this up to Frisky herself. His motives were arguably even more self-centered and short-sighted. He didn't bother asking Frisky how uprooting her own life would affect her. He just... assumed he could just smooth it over after the wedding. (I love you Rad, but... dick move, man. Dick move.)

But when you look in me With language in your eyes I get so high I get so high I'm like a planet And I can't come down

When the singer stops and looks at the subject, gazing into her eyes without needing to say a word, that "Lazarus drug high" comes back. She realizes that she's not in it alone. That there's people around her that love her and care for her, and they matter just as much as she does.

When Rad finally catches up to Frisky at the Lookout, they have this moment:

Now at surface level "I know you like it here" could just be referring to the Lookout, since it's one of Frisky's favorite places. But on a deeper level, I think we can tell what this really means. It's referring to Brisbane. You can even see the city in the background here.

Rad finally wakes up and realizes how much Frisky's home means to her. Neither one of them has to say a word about Brisbane for us to know that Rad's had a change of heart about moving. The way they look at each other during this scene speaks volumes.

Likewise, there's... the moment.

Moving day.

I feel it in the morning I feel how low it lies And then I hear you calling And then I start to rise I feel it in the morning I feel how low it lies And then I hear you call my name And then I start to rise

The Heeler house is all packed up in boxes, and the family is getting into the car to leave their driveway for the final time.

But just as Bandit's about to get in the driver's seat, he stops to answer a call from Bucky, letting him know that the Sheepdogs decided at the last minute not to buy the Heeler house.

After the call ends, Bandit walks over to peel the "SOLD" sticker off the "For Sale" sign.

He then gazes back at his family waiting in the car. No words are exchanged. He just takes a moment to look into their eyes. He's reflecting on what this move will mean for them. He remembers all the sorrow Bluey and Bingo endured over the revelation.

And suddenly his eyes are opened to what really matters...

And when I hear you calling Like you were always there I rise until I'm hanging In the middle of the air

He grabs hold of the sign, pulling it with the strength of two Bandits.

And when I hear you calling I split like I'm a snake With golden light like fingers And then I start to break Into a billion pieces

And...

...YEET.

Oh, I shatter into constellations Like I've never been more here Like I completely disappear

The ego shatters. Bandit foregoes the self and realizes his oneness with his family. That they all matter. That what they have in Brisbane is beautiful.

Sure, he could assure himself a cushy high-paying job and ensure a "comfy" life for his family.

But his family was already comfortable. More than comfortable, even.

His preconceived notions of what a "good life" could be disappear, because he knows they already have a good life.

I'm nothingness, but shining And everywhere at once I'm everything and everyone who is or ever was

Now this line is particularly interesting to me.

In eastern spirituality, especially Buddhism, there's a concept of "emptiness." Basically nothing and no one exists purely in and of itself. "Everything and everyone who is or ever was" exists because of interconnections through other factors. There's no inherent "thing" or "self." We're all one.

The words "emptiness" and "nothingness" in our western mindset seems to denote a feeling of despair and sadness. I think this is why Meg chose to word it as "nothingness, but shining." In the eastern mindset, "nothingness" is something that is shining and beautiful. It's not a sense of loneliness, rather a sense that you are not alone.

Bluey isn't a stranger to incorporating eastern spiritual thought into its episodes. Probably the most famous example is the episode "Bumpy and the Wise Old Wolfhound," which is loosely based off the Buddhist story of Kisa Gotami. The episode "Hide and Seek" alludes to the practice of mindfulness meditation, which is a practice rooted in eastern traditions. You could even argue that the episode "Slide" has themes of Ahimsa, the eastern principle of nonviolence and not causing harm to other living things.

Even "The Sign" incorporates the Taoist parable of the Farmer, which teaches about accepting the unexpected of life, and not labelling anything as "fortunate" or "unfortunate."

I also personally see themes of the aforementioned principle of interconnectedness. The whole episode is basically a literal "butterfly effect." Every little thing, from Frisky leaving the wedding and the Heelers going to look for her, to Flappy (who originally appeared in "Slide." Oh wow, this goes deep!) flying into the Heelers' car, to Bluey finding a lucky coin, only for it to get stuck in the binoculars that the Sheepdogs later use to spot their new dream house... it all leads up to the ending.

The ending in and of itself can't really be labelled as a perfect happy ending, either. Bandit can no longer accept his new job, and will probably need to find new work in Brisbane. How will it go?

"We'll see."

And You're nothingness, but shining And everywhere at once You're everything, we're everyone who is or ever was, forever

The final lines are just a pronoun switch of the ones before them. This could be interpreted in multiple ways. The singer could be addressing the subject of the song, but she could also be addressing the listener.

The song ends on a reminder that we're all connected. We're affected by the circumstances we face, including the love we're shown by others. Likewise, the love we show others affects them and those around them.

Isn't that kind of one of the overarching messages of Bluey as a whole? How we treat others - our friends, our families, our children - goes a long, long way.

...

WHOO. That ended up being more of a ramble than I thought.

Anyway, I'm just calling this as I personally see it from my silly overthinking layperson perspective. You shouldn't by any means take what I say as gospel, but I do hope I've at least given you something to think about.

And, of course, feel free to share your own interpretations!

If you've made it to the end of this massive skyscraper of text, thank you so, so much. I love you. 💖

[for-yoongi0309]

BTS’ Suga Returns as Agust D to Tackle Loneliness, Humanity & Being Acknowledged

Most famously known as Suga from BTS — but also by the solo moniker Agust D, as well as birth name Min Yoongi — the artist who works as a rapper, singer, producer, dancer, fashion muse and NBA ambassador wants to remind listeners that, above all, he is a human.

“In the past — and I’ve always said this in my interviews — personally, I think loneliness is being together in modern society. I always talk about loneliness in my interviews, but regretfully, it isn’t always in the final interview. Not only me, everyone has this loneliness inside them until the moment they die. However deep you are in a relationship, how much you engage with other people, how many friends you meet, or how often you meet with your family, you always have the loneliness inside.

So, I started with this keyword of “loneliness” three years ago, and I wouldn’t say there’s much difference in that everybody can feel pain and agonized. It’s the same with me. Whether it’s me from BTS, SUGA, Min Yoongi, or Agust D, I always have that inside me too. People might see me as someone who wouldn’t have any concerns or worries or that I don’t feel any agony, but I feel those emotions too. I’m trying to find a way to fight those and overcome those too.”

Today, April 7, marks the return of Agust D, the name Suga uses when releasing solo projects away from BTS, with the new single “People Pt.2” featuring K-pop superstar IU. Not only does it mark the duo’s latest collaboration after teaming for the No. 1 hit on Billboard‘s World Digital Song Sales chart “Eight” from May 2020, it also acts as an extension from “People,” a fan-favorite cut from Agust D’s D-2 mixtape released that same month. While the original “People” saw Suga reflecting on himself and meditating on how others judge and change, Part 2 longs for connection with others. As multifaceted as Suga’s world is, loneliness is a permanent source of inspiration and intrigue for the 30-year-old. Hours before “People Pt.2” drops worldwide, his call with Billboard occurs alongside multiple international teams who work around the clock for Suga and BIGHIT MUSIC artists. Some are beside him physically, others via Zoom connection virtually — but loneliness remains a muse for the star, assisting him in searching within and speaking to listeners in larger, universal ways. Since its debut, BTS’ musical appeal has reached globally largely through the septet’s extended metaphors and imagery, translating into accessible storytelling alongside boundary-pushing compositions and choreography. Suga’s range of material is vast, after producing on essentially every BTS album, not to mention scoring high-profile collaborations with everyone from Halsey and Juice WRLD to Epik High and Japan’s ØMI. But now, he’s emphasizing the topics that move him personally — and ensuring he’s properly heard.

Despite an already packed spring and summer with album promo, his solo world tour, ambassadorship duties and a YouTube series, Suga cheekily closes out our chat “Yeah, it’s fuking busy,” he says with a wink since he has no time to waste. Read on as he narrows in on the release of “People Pt.2” and all that’s led up to this reflective pop/hip-hop collaboration.

We’re hours away from the release of “People Pt.2,” your official return as Agust D for your D-Day album. Is there a different mindset when you prepare music as Agust D versus solo or as SUGA alongside BTS?

SUGA: They’re all music made by the person called Min Yoongi. So, I don’t actually have a very different mindset for each moniker — but I would say that the purposes could be somewhat different. Ultimately, the goal of releasing this music is for as many people to listen to my music as possible. So, “People Pt.2” was made thinking about how people will receive Agust D’s music, which is why we also featured IU. It’s kind of a trial to release this music under the name Agust D. I’m actually a little bit worried.

“People Pt.2” (featuring IU) of course follows up “People” from the D-2 mixtape. What was important about continuing this story with IU?

SUGA: This is a story that you’ll personally love: The title wasn’t originally “People Pt.2.” Actually, “People” from D-2 is personally my favorite song — and we actually worked on “People Pt.2” three years ago. When I was releasing my pictorial [Photo-Folio Wholly or Whole Me] photo shoot, the company actually revealed the guide [demo] version and gave a glimpse of it to the public. But anyway, it was already finished when we were working on D-2 so I was thinking, “Oh, I should release this, I should release this.” But we had to get on with “Butter” and “Dynamite” so we didn’t get the chance. Originally, the title was “Sara (사라),” without the “M (ㅁ)” consonant in Korean — because that’s, like, one consonant less than the word “saram (사람),” which is Korean for “people.” Depending on whichever consonant you put at the end of the word sara (사라), it can become “saram (사람)” and “people,” or it can become “sarang 사랑,” or “love” in Korean. So, it’s the listener’s choice to put which consonant you want at the end of “sara” (사라). But I had my friend listen to this song and people heard it as “sal-ah (살아)” which kind of means “live” in Korean and I was like, “This is not going to work.” So, we finalized the title to be “People” in the end. And some people call me August D, some people call me Ah-gust D, but I’m actually Agust D. So, you know, people take my name differently and we had to sync the person SUGA and Agust D. This is a song that kind of matches that sync. We need that bridge and sync between my mixtape and this official solo album. In order to put that sync together, I had to make this a very pop song. We didn’t try to make the music video that intense — and, in that sense, IU really played an important role in doing that. I also think this is a genre that I can do best, this pop-focused song.

There’s this sync between songs, but the themes and lyrics are very different, right? “People” was self-reflective and examined other people’s judgments, but “People Pt.2” seems more about connection and fighting loneliness. What most differentiates the two in your mind?

SUGA: In the past — and I’ve always said this in my interviews — personally, I think loneliness is being together in modern society. I always talk about loneliness in my interviews, but regretfully, it isn’t always in the final interview. Not only me, everyone has this loneliness inside them until the moment they die. However deep you are in a relationship, how much you engage with other people, how many friends you meet, or how often you meet with your family, you always have the loneliness inside. So, I started with this keyword of “loneliness” three years ago, and I wouldn’t say there’s much difference in that everybody can feel pain and agonized. It’s the same with me. Whether it’s me from BTS, SUGA, Min Yoongi, or Agust D, I always have that inside me too. People might see me as someone who wouldn’t have any concerns or worries or that I don’t feel any agony, but I feel those emotions too. I’m trying to find a way to fight those and overcome those too. This album doesn’t really finalize everything in its message either. So, there might be a possibility there could be a “Part 3” later on. For now, we’re just trying to say, “Let’s not hate each other. Let’s find a way.”

I like that — because even in the Road to D-Day documentary trailer, there’s a moment you say you frequently consider quitting music. But when people come together, it makes you realize you can do it and have fun. Does this tie into themes of “People Pt.2”?

SUGA: This is kind of a difficult topic, because I started making music and writing lyrics [when] I was 11 or 12 years old. I’ve been making music for all these years, and now I’m 30. It wasn’t easy writing “People Pt.2,” and the album overall, but people really don’t know the whole process of that. Even though I’d been making music more than half of my life — and I’m just saying this because you understand this, Jeff — when we first started in the K-pop scene, we were in this ambiguous position of not being accepted as musicians and not being accepted as idols either. But the musicians close to me know that I’m very serious and sincere in music and that I’m a very natural person. So, the documentary started as I just wanted to capture and show this process. It started with the purpose of showing SUGA as a producer and songwriter, but it kind of ended up having the worldview of an album-making process. I tried to show the normal, individual side of me as much as possible, but as I am a Korean idol, or K-idol, a lot of scenes were edited out; there were more of those natural scenes and some very good scenes that couldn’t make it in the final version. The documentary and “People Pt.2” try to reveal the natural side of the human Min Yoongi. I just wanted to show that I am this humane person. I am just a human.

You need to release your “Director’s Cut” one day. While D-Day and the documentary are coming, I want to congratulate you on the worldwide release of D-2 and Agust D this week. My favorite song, “Agust D” with the sample of “It’s a Man’s Man’s Man’s World,” was finally added to streaming too. You shared how J. Cole approved BTS’ “Born Singer” sample, what can you share about the process with James Brown‘s estate?

SUGA: I released Agust D when I was still very young, so, even as I listen to it now, it kind of sounds immature — if you listen to the tone, the rap itself wasn’t very organized, I wanted to do a lot of things at that time. It just kind of keeps going very tightly and quickly. But after doing so much various and diverse music, I think that people love the songs that have been released more recently than the songs that were released back then. So, I kind of dare say that people are starting to recognize and acknowledge these songs now. Since the musician actually passed away, I think it was the family who decided to acknowledge it. Same thing with [clearing] “Born Sinner” — and I don’t know what the path was for the musician themselves, but it was clear. And I take it as that I, as BTS, and Min Yoongi, and SUGA, and Agust D, was acknowledged as a musician. I’m really not thinking that broader consumers or audiences will accept it, because it’s not really popular music. Still, I would dare assume that it’s getting cleared because we’re finally getting recognized as musicians.

Interviewer: Jeff Benjamin at billboard

[wyrmsweven]

Lil Nas X's new single "J Christ" is a really, really good music video.

I really enjoy this track and the mixing is so earwormy. I feel that Nas has a similar production style to Taylor Swift, as they both have super high production value. Swift does this melodramatic short films whilst Nas quite literally dunks on the devil, combined with striking outfits and costuming.

I like these two the best- a silver moses-inspired one and a bedazzled scold's bride outfit. I know shockingly little about clothing so I will not say anything to the actual value of these, but they look amazing. I also like that Nas leaned into the religious imagery on this single, and his expert showmanship and pot-stirring gave this a lot of media attention. I do not think that utilizing such concepts as heaven and hell, or taking the place of religious figures through extended metaphor is disrespectful to Christianity or even rare. However, he has managed to make this usually chaste and pious subject into a funky pop single and I quite enjoy it.

Anyhow theres my 1am post because I really wanted to talk about this man but I am addled and will sleep now

[dkniade]

Translating the Narrated Poem of the Story Teaser: “The Boy and the Whirlwind”

It’s an interesting thing, knowing that Venti’s poetry is not meant to be Chinese stylistically (usually traditional Chinese poetry has a specific syllable count per line depending on the style and is very condensed in imagery), but rather it’s in Chinese only in language. It carries a certain form and meter that makes it hard to recognize what it’s trying to mimic… But I’ll take a look at this lost ballad waiting to be found anyways.

This is the story teaser known in English as “The Boy and the Whirlwind”.

This is also the story teaser known in Chinese as “微风与少年”, or in other words—

“The Breeze and the Boy”.

——

.

Original Chinese Title: 微风与少年

Original Chinese Transcript

.

我要说的故事

开始于旧蒙德。

.

在那暴君统治的国度，

我认识一位少年。

.

少年懂得弹琴，

寻着自己的诗篇。

.

但他生在风墙之内，

从来不曾见过蓝天。

.

「我想看见飞鸟翱翔的模样。」

少年眼神倔强，瞳中有光。

.

但他的声音被呼啸风声盖过，

因为龙卷只会收取颂歌，不再留下其他声响。

.

真正的天空，囚笼外的诗与歌，

难道不是值得为之而战的愿望？

.

所以少年对我发出邀请：

「与我同去吧——碾碎暴君，撕开风墙。」

.

少年接起反叛之旗，

我亦投身追求「自由」的战争。

.

冲破囚笼之人一路得胜。

令神位崩毁，千风卷乱，诸国动震。

.

���硝烟中，我们见证暴君之末。

在灰烬中，我们见证高塔崩落。

.

如事，「新蒙德」之造史。

至此，无人再登王座。 ------

My Translated English Title: The Breeze and the Boy

My English Translation (Prose)

The story I’m about to tell

Starts in Old Mondstadt.

.

In that kingdom ruled by a tyrant,

I met a young boy.

.

The boy knew how to play the lyre, 

Searching for lyrics of his own.

.

But he lived within the storm-walls,

Having never seen the blue sky.

.

“I wish to see the birds soaring freely.”

The boy’s unyielding eyes had hope in them.

.

But his voice was lost in the howling wind,

For the whirlwind only accepted hymns, and left no other sound.

.

The true sky, the poems and songs beyond the cage,

Are they not wishes worth fighting for?

.

So the boy extended his invitation to me:

“Come with me. Let us pulverize the tyrant, and rip through the storm-walls.”

.

The young boy raised the flag of revolt,

And I threw myself into the fight for “Freedom”.

.

Victory followed those who broke through the cage,

Making the god’s seat crumble, the thousand winds whip, and nations shake violently.

.

In the parting smoke, we witnessed the end of the tyrant.

In the flying ashes, we witnessed the crumbling of the spire.

.

Thus, the epic of “New Mondstadt”.

So far, none has again taken its throne.

.

-----

Official English Title: The Boy and the Whirlwind

Official English Transcript

In Old Mondstadt transpired the story to be told,

.

Where a tyrant ruled, 

I met a boy, not that old.

.

The lyre he played, 

and for a song he sought,

.

But storm-walls blocked blue sky — 

he was sincerely distraught.

.

“I do so wish to see the birds in flight,”

Said he, his strong eyes filling with light.

.

But his voice was lost in the howling wind’s churn.

For the whirlwind takes, and gives naught in return.

.

The true sky, and songs that cageless soar…

Were they not wishes worth fighting for?

.

So the boy turned, extending his hand:

“Let us cast down the tyrant and his walls from this land.”

.

The young boy raised then the flag of revolt,

And I threw myself into freedom’s tumult.

.

Victorious were we who fought to be free.

Gods fell, winds whipped, nations shook violently.

.

In the smoke, a despot met his doom,

And we watched as his great tower fell none too soon.

.

Mondstadt began anew, the story passed down—

And since then never has another worn its crown.

. ----------

.

Noteworthy Terms and Phrases

少年 (Shàonián / shao4nian2)

(modern term) young boy, around the age of ten to eighteen years old. The nameless bard should be around this age, but it’s hard to pinpoint due to the general artstyle. (literary term) youth.

—

少年眼神倔强，瞳中有光。

(Shàonián yǎnshéng juéjiàng，tóng zhōng yoǔ guāng / Shao4nian2 yan3sheng4 jue2jiang4, tong2 zhong1 you3 guang1)

Literally “The young boy’s eyes [were] unyielding, there’s light in [his] pupils.” 倔强 could mean stubborn but in this context it’s closer to unyielding. 光 means light but here it means something more metaphorical like “his eyes filled with hope”. 

I have also considered “with a glint in his eye” but it sounds too mischievous (like he’s about to pull a trick) so for the more righteous bard I went for the first interpretation.

Thus, “The boy’s unyielding eyes had hope in them.”

—

冲破囚笼之人一路得胜。

(Chōngpò qiú lóng zhī rén yīlù déshèng. / Chong1po4 qiu2 long3 zhi1 ren2 yi1lu4 de2sheng4)

More literally it’s “Those who broke through the cage achieved victory throughout the entire path” but in English it’s better to say “victory followed those who broke through the cage.”

—

神位 vs 王座 (shénweì / shen2wei4; wángzuò / wang2zuo4)

Literally speaking, the first means seat of god and the second means throne. However—

神位, also known as 排位, means spirit tablet (or memorial tablet, or ancestral tablet). It’s part of East Asian culture, though it originated from traditional Chinese culture. Simply put, it’s a sort of wooden tablet with the name of a spirit, ancestor, or deceased person on it, along with some auspicious sayings, placed on an altar for sacrifices and offerings.

(Here’s a Wikipedia link)

Why such a word is used in a poem about Mondstadt, which is based on German culture with some Greek mythology influences, is beyond me.

Though, it seems multiple tablets (thus, for multiple spirits, deities, ancestors, etc.) can be placed on the altar at once, and the word does appear in the poem when the Thousand Winds break free (令神位崩毁，千风卷乱). One could argue that the 神位 in question was for the thousand winds (be it the group the wind spirit Venti once belonged to or the thousand winds of time Istaroth), along with Decarabian, the God of Storms himself. After all, the Thousand Winds Temple exists in Mondstadt, and both Barbatos and Istaroth were worshipped around Decarabian’s time (according to the Sacrificial Fragments weapon lore).

But taking the context of the rest of the poem, I’d say 神位 should still mean something like seat of god or the position of god here, and 王座 would be throne.

——

如事，「新蒙德」之造史。(Rúshì，“Xīn Méngdé” zhī zàoshǐ. / Ru2shi4, “Xin1 Meng2de2” zhi1 zao4shi4.)

It's pretty formal to say this. Directly, it’s “These events, the creation Epic of ‘New Mondstadt’.” 造史 itself isn’t an actual word but the first character means creation (as in 创造) and the second character could either mean history (历史) or epic poetry (史诗) here. I figured that this is meant to be a poem about a hero, so I’ve chosen the epic sense.

So it’s rendered as “Thus, the epic of ‘New Mondstadt���.”

------------

Rhyming Scheme

Original Chinese Poem

AX / XB / XB / XB / CC / XC / XC / XC / XD / DD / EE / AX

.

Official English Stylization 

XA / XA / XB / XB / CC / DD / EE / FF / GG / HH / II / JJ

.

Okay, so the rhyming scheme between the two versions is similar in this section:

少年懂得弹琴，(qín)

寻着自己的诗篇。(piān)

但他生在风墙之内，(neì)

从来不曾见过蓝天。(tiàn)

「我想看见飞鸟翱翔的模样。」(yàng)

少年眼神倔强，瞳中有光。(huāng)

or 

The lyre he played, 

and for a song he sought,

But storm-walls blocked blue sky — 

he was sincerely distraught.

“I do so wish to see the birds in flight,”

Said he, his strong eyes filling with light.

.

The last two lines of both are couplets, and the three pairs are the only instance where the two versions rhymed at the same place. It’s the XB / XB / CC part of the above rhyming scheme.

The official English stylization primarily uses rhyming couplets, but as to why the length of the couplets became shorter after “‘I do so wish to see the birds in flight,’ / Said he, his strong eyes filling with light” is… unknown, unless it’s to show turning point, and thus emphasis on the couplets make you pay more attention to the events that followed? The rhyming scheme is not as noticable in Chinese… But the syllable count isn’t particularly noticeable in Chinese either, so it’s probably closer to a modern Chinese poetic style. 

But then, without a strong rhyming scheme nor meter, the structure of the poem is a little weak in Chinese, and it didn’t seem like it was freestyle, since they were clearly trying something with the rhyming. (With that said however, Chinese isn’t a very rhythmic language compared to English, so it’s okay.)

I want to see if I can write it into an English poem that follows the rhyme scheme and meaning of the Chinese poem.

----

Rhyming Scheme: AX / XB / XB / XB / CC / XC / XC / XC / XD / DD / EE / AE

Meter

okay so the Cecilia which has three main petals is shown in reverse on the flag of rebellion so it would make sense to use a trimeter

Old Mondstadt was used by Decarabian, one ruler, so the first syllable should be stressed, with three syllables per meter 

In other words, dactylic trimeter (which is not as common as iambs and is therefore hard to write with!! Start with an unstressed syllable to make it easier!) 

In other words, catalectic amphibrachic tetrameter 

And iambs have a better flow so it could be used for the parts representing freedom (and good for rhyming couplets too)

Let’s say for the free parts to use iambic tetrameter (four winds) 

And also a nonspecific tetrameter for Those Particular Parts where the Chinese cut it up into phrases of four characters (and thus syllables)

Meter, Summary

catalectic amphibrachic tetrameter (- / - - / - - / - - /)

iambic tetrameter (-/-/-/-/)

Amphibrach  (- / -) for Decarabian, the one ruler, ruling Old Mondstadt, which causes an imbalance in power, hence the lopsided feeling of the meter 

Trimeter (foot repeated three times) for the three-petaled Cecilia 

Iambs (- /) for the balanced feeling of freedom and peace, and New Mondstadt having no ruler

Tetrameter (foot repeated four times) for the four winds, thus the better flow of the meter 

Link to my rewriting of the poem in English

[0613magazine]

040723 Billboard

BTS’ SUGA Returns as Agust D to Tackle Loneliness, Humanity & Being Acknowledged

Back under his solo moniker, SUGA is feeling two decades of songwriting and producing connect universally: "We're finally getting recognized as musicians."

Most famously known as SUGA from BTS — but also by the solo moniker Agust D, as well as birth name Min Yoongi — the artist who works as a rapper, singer, producer, dancer, fashion muse and NBA ambassador wants to remind listeners that, above all, he is a human.

Today, April 7, marks the return of Agust D, the name SUGA uses when releasing solo projects away from BTS, with the new single “People Pt.2” featuring K-pop superstar IU. Not only does it mark the duo’s latest collaboration after teaming for the No. 1 hit on Billboard‘s World Digital Song Sales chart “eight” from May 2020, it also acts as an extension from “People,” a fan-favorite cut from Agust D’s D-2 mixtape released that same month. While the original “People” saw SUGA reflecting on himself and meditating on how others judge and change, Part 2 longs for connection with others.

As multifaceted as SUGA’s world is, loneliness is a permanent source of inspiration and intrigue for the 30-year-old. Hours before “People Pt.2” drops worldwide, his call with Billboard occurs alongside multiple international teams who work around the clock for SUGA and BIGHIT MUSIC artists. Some are beside him physically, others via Zoom connection virtually — but loneliness remains a muse for the star, assisting him in searching within and speaking to listeners in larger, universal ways.

Since its debut, BTS’ musical appeal has reached globally largely through the septet’s extended metaphors and imagery, translating into accessible storytelling alongside boundary-pushing compositions and choreography. SUGA’s range of material is vast, after producing on essentially every BTS album, not to mention scoring high-profile collaborations with everyone from Halsey and Juice WRLD to Epik High and Japan’s ØMI. But now, he’s emphasizing the topics that move him personally — and ensuring he’s properly heard.

Despite an already packed spring and summer with album promo, his solo world tour, ambassadorship duties and a YouTube series, SUGA cheekily closes out our chat (“Yeah, it’s f–king busy,” he says with a wink) since he has no time to waste. Read on as he narrows in on the release of “People Pt.2” and all that’s led up to this reflective pop/hip-hop collaboration.

We’re hours away from the release of “People Pt.2,” your official return as Agust D for your D-Day album. Is there a different mindset when you prepare music as Agust D versus solo or as SUGA alongside BTS?

SUGA: They’re all music made by the person called Min Yoongi. So, I don’t actually have a very different mindset for each moniker — but I would say that the purposes could be somewhat different. Ultimately, the goal of releasing this music is for as many people to listen to my music as possible. So, “People Pt.2” was made thinking about how people will receive Agust D’s music, which is why we also featured IU. It’s kind of a trial to release this music under the name Agust D. I’m actually a little bit worried.

“People Pt.2” (featuring IU) of course follows up “People” from the D-2 mixtape. What was important about continuing this story with IU?

This is a story that you’ll personally love: The title wasn’t originally “People Pt.2.” Actually, “People” from D-2 is personally my favorite song — and we actually worked on “People Pt.2” three years ago. When I was releasing my pictorial [Photo-Folio Wholly or Whole Me] photo shoot, the company actually revealed the guide [demo] version and gave a glimpse of it to the public. But anyway, it was already finished when we were working on D-2 so I was thinking, “Oh, I should release this, I should release this.” But we had to get on with “Butter” and “Dynamite” so we didn’t get the chance.

Originally, the title was “Sara (사라),” without the “M (ㅁ)” consonant in Korean — because that’s, like, one consonant less than the word “saram (사람),” which is Korean for “people.” Depending on whichever consonant you put at the end of the word sara (사라), it can become “saram (사람)” and “people,” or it can become “sarang 사랑,” or “love” in Korean. So, it’s the listener’s choice to put which consonant you want at the end of “sara” (사라). But I had my friend listen to this son and people heard it as “sal-ah (살아)” which kind of means “live” in Korean and I was like, “This is not going to work.” So, we finalized the title to be “People” in the end.

And some people call me August D, some people call me Ah-gust D, but I’m actually Agust D. So, you know, people take my name differently and we had to sync the person SUGA and Agust D. This is a song that kind of matches that sync. We need that bridge and sync between my mixtape and this official solo album. In order to put that sync together, I had to make this a very pop song. We didn’t try to make the music video that intense — and, in that sense, IU really played an important role in doing that. I also think this is a genre that I can do best, this pop-focused song.

There’s this sync between songs, but the themes and lyrics are very different, right? “People” was self-reflective and examined other people’s judgments, but “People Pt.2” seems more about connection and fighting loneliness. What most differentiates the two in your mind?

In the past — and I’ve always said this in my interviews — personally, I think loneliness is being together in modern society. I always talk about loneliness in my interviews, but regretfully, it isn’t always in the final interview. Not only me, everyone has this loneliness inside them until the moment they die. However deep you are in a relationship, how much you engage with other people, how many friends you meet, or how often you meet with your family, you always have the loneliness inside.

So, I started with this keyword of “loneliness” three years ago, and I wouldn’t say there’s much difference in that everybody can feel pain and agonized. It’s the same with me. Whether it’s me from BTS, SUGA, Min Yoongi, or Agust D, I always have that inside me too. People might see me as someone who wouldn’t have any concerns or worries or that I don’t feel any agony, but I feel those emotions too. I’m trying to find a way to fight those and overcome those too.

This album doesn’t really finalize everything in its message either. So, there might be a possibility there could be a “Part 3” later on. For now, we’re just trying to say, “Let’s not hate each other. Let’s find a way.”

I like that — because even in the Road to D-Day documentary trailer, there’s a moment you say you frequently consider quitting music. But when people come together, it makes you realize you can do it and have fun. Does this tie into themes of “People Pt.2”?

This is kind of a difficult topic, because I started making music and writing lyrics [when] I was 11 or 12 years old. I’ve been making music for all these years, and now I’m 30. It wasn’t easy writing “People Pt.2,” and the album overall, but people really don’t know the whole process of that. Even though I’d been making music more than half of my life — and I’m just saying this because you understand this, Jeff — when we first started in the K-pop scene, we were in this ambiguous position of not being accepted as musicians and not being accepted as idols either. But the musicians close to me know that I’m very serious and sincere in music and that I’m a very natural person.

So, the documentary started as I just wanted to capture and show this process. It started with the purpose of showing SUGA as a producer and songwriter, but it kind of ended up having the worldview of an album-making process. I tried to show the normal, individual side of me as much as possible, but as I am a Korean idol, or K-idol, a lot of scenes were edited out; there were more of those natural scenes and some very good scenes that couldn’t make it in the final version. The documentary and “People Pt.2” try to reveal the natural side of the human Min Yoongi. I just wanted to show that I am this humane person. I am just a human.

You need to release your “Director’s Cut” one day. While D-Day and the documentary are coming, I want to congratulate you on the worldwide release of D-2 and Agust D this week. My favorite song, “Agust D” with the sample of “It’s a Man’s Man’s Man’s World,” was finally added to streaming too. You shared how J. Cole approved BTS’ “Born Singer” sample, what can you share about the process with James Brown‘s estate?

I released Agust D when I was still very young, so, even as I listen to it now, it kind of sounds immature — if you listen to the tone, the rap itself wasn’t very organized, I wanted to do a lot of things at that time. It just kind of keeps going very tightly and quickly. But after doing so much various and diverse music, I think that people love the songs that have been released more recently than the songs that were released back then. So, I kind of dare say that people are starting to recognize and acknowledge these songs now. Since the musician actually passed away, I think it was the family who decided to acknowledge it.

Same thing with [clearing] “Born Sinner” — and I don’t know what the path was for the musician themselves, but it was clear. And I take it as that I, as BTS, and Min Yoongi, and SUGA, and Agust D, was acknowledged as a musician. I’m really not thinking that broader consumers or audiences will accept it, because it’s not really popular music. Still, I would dare assume that it’s getting cleared because we’re finally getting recognized as musicians.

Source: Billboard

[kvibestudios]

Mastering Storytelling: Captivating Filmmaking from New Jersey to New York

Storytelling emerges as a vital instrument in the art of filmmaking, essential for captivating audiences and leaving a lasting impression. Filmmakers, whether situated in lively New Jersey or dynamic New York, must perfect their storytelling abilities to create cinema that connects on a deeper level.

Grabbing the Audience

To effectively grab and maintain audience interest, it's important to use certain strategies. Starting with elements of intrigue and uncertainty can greatly draw viewers in. Techniques such as introducing mysterious elements or leaving questions unanswered incite audience engagement. For example, the Deloitte film features a mysterious narrator that piques curiosity, guiding viewers on a journey of discovery. The emotional link between the narrative and the audience is at the core of impactful storytelling. This bond forms when filmmakers craft stories that allow viewers to immerse themselves and connect emotionally, thereby enhancing their investment in the plot.

Compelling Narrative Techniques

Employing well-crafted narrative techniques can significantly boost storytelling skills. Keeping the narrative concise and focused is crucial. Avoid inundating the story with excessive information that could confuse the audience and detract from the main message. Using a time-honored structure like the three-act format provides a natural progression—beginning with character introductions, moving through conflict towards a climax, and concluding with a satisfying resolution. This setup naturally maintains suspense and keeps the audience engaged. Developing stories with carefully selected styles, such as realistic, surreal, episodic, or hybrid narratives, allows for creative flexibility. Each style serves distinct purposes: realistic tales reflect everyday life, amidst surreal stories that spark imagination with fantastical elements. Episodic narratives unfold in parts, and hybrid-style storytelling mixes various styles, offering distinctive ways to engage audiences.

The Influence of Visual Storytelling

Visual storytelling is essential in supporting a narrative, using different elements to amplify emotional impact. The arrangement of shots, including camera perspectives and motion, effectively communicates relationships and emotions within the story. Skillful camera movements can heighten tension or highlight critical moments. Lighting and color play a significant role in setting the mood, enriching the emotional texture of a film. Deliberate use of color not only emphasizes themes but also strengthens audience connection. Including visual metaphors and symbolic imagery adds richness to the narrative, weaving additional layers of meaning and drawing viewers into a more engrossing experience.

Genuine Storytelling for True Immersion

To achieve authenticity and immersion in storytelling, integrating raw, true-to-life narratives into filmmaking is key. Filmmakers using documentary-style techniques in fictional narratives achieve authenticity by establishing a connection that extends beyond the confines of the screen. Minimalistic components often drive innovation, as demonstrated by films like "The Blair Witch Project" and "Tangerine." These films illustrate how powerful stories can emerge from simplicity, encouraging audiences to focus on the narrative rather than spectacle.

Optimal Practices for Successful Storytelling

Creating a lucid and entertaining story involves feedback and iteration. Testing stories with new audiences can offer essential insights, highlighting strengths and areas needing refinement. Sustaining audience interest might call for humor, music, suspense, or dramatic dynamics. Filmmakers such as Werner Herzog and Morgan Spurlock masterfully blend aesthetic beauty with raw truth, immersing audiences in the worlds they create. Ensuring visual uniformity means every frame contributes seamlessly to the overarching narrative. This visual consistency enhances the storytelling experience, making it not just memorable but impactful. In the end, storytelling surpasses simple entertainment—it becomes the cornerstone of successful filmmaking. By crafting narratives that capture attention, leveraging strategic techniques, utilizing visual storytelling, and embracing authenticity, filmmakers, regardless of locale, can produce films that deeply resonate with their audience. #filmmaking #storytelling #cinema #visualstorytelling #authenticity Discover more tips to enhance your filmmaking skills by visiting https://www.kvibe.com

[pagebypagereviews]

Unlock the Hidden Secrets of Early Christianity: A Deep Dive into "Apocrypha: Eleven New Testament Books" in Large Print Explore the realms of early Christianity with "Apocrypha: Eleven New Testament Books: Large Print," a monumental work that unveils the mystical and often overlooked texts excluded from the standard New Testament canon. Whether you're a biblical scholar or a casual reader intrigued by religious history, this book promises to be a compelling addition to your library. Its large print format ensures accessibility for all, making the ancient secrets more approachable than ever. "Apocrypha: Eleven New Testament Books" addresses a critical gap in biblical literature, offering readers insight into the spiritual and historical context that shaped early Christian thought. The significance of these texts lies not only in their theological implications but also in their ability to provide a more rounded understanding of the New Testament era. By sifting through the veiled narratives and teachings, the book solves the problem of limited perspectives, broadening the horizon for anyone keen on comprehending the multifaceted nature of early Christian writings. Plot The Apocrypha: Eleven New Testament Books: Large Print presents a collection of eleven lesser-known texts that were purportedly written during the New Testament era but were not included in the canonical Bible. Each of these books offers unique narratives, theological discourses, and accounts of early Christian practices. These stories often explore themes like early Christian martyrdom, spiritual revelations, and doctrinal teachings that are not found in the canonical scriptures. The plot structure of these works tends to diversify, ranging from extended epistles to apocalyptic visions, thereby providing a broader theological and historical scope of early Christianity than the New Testament alone. Characters The characters in these eleven books include a range of early Christian figures from apostles and saints to Jesus himself in certain texts. Prominent figures like Peter, Paul, and Mary are depicted in alternative lights often through first-person narratives or third-person accounts. For instance, texts like the Acts of Peter offer expanded adventures and miraculous events performed by Peter beyond what is detailed in the canonical Acts. Additionally, apocalyptic texts often depict heavenly beings, divine visions, and eschatological personalities, enriching the Christian characters’ mythos significantly. These alternative views invite the reader to reconsider the multifaceted dimensions of these early Christian individuals. Writing Style The writing style across the eleven books varies considerably, reflecting different authorship and periods. Some texts, like the Epistles, closely follow the formal and didactic style of Paul's letters, emphasizing moral exhortation and communal instructions. Others, such as the Didache, adopt a more straightforward instructional and liturgical manner, outlining early Christian practices. The apocalyptic writings exhibit highly symbolic and metaphorical language akin to the canonical Revelation, loaded with vivid imagery and esoteric themes. The use of Koine Greek with occasional Aramaic phrases further ties these texts linguistically to the early Christian era, ensuring an authentic historical feel. Setting The settings of these texts span a wide geographical and metaphysical range, from the earthly realms of the Roman Empire to heavenly visions. Many books are set in familiar biblical locations such as Jerusalem, Antioch, and the broader Mediterranean regions. Moreover, the apocalyptic and visionary texts frequently venture into celestial realms, detailing heavenly courts and supernatural events. This dual setting not only grounds the stories within historical locales but also elevates them to a cosmic spiritual landscape, reflecting the early Christian belief in the interplay between earthly and divine spaces. Unique aspects of the Apocrypha: Eleven New Testament Books: Large Print

One unique aspect of this collection is its large print format, making it accessible to a broader audience, including those with visual impairments. Another notable feature is the rich diversity of genres present within the collection: epistolary writings, apocalyptic visions, didactic treatises, and hagiographical narratives. This compilation allows readers to explore a non-canonical dimension of early Christian literature, revealing theological debates, liturgical practices, and spiritual ideologies that were significant but ultimately excluded from the biblical canon. These apocryphal texts offer invaluable insight into the early church's dynamic and contested development, providing additional context to the canonical scriptures. Moreover, the preservation of these texts in large print underscores a commitment to inclusivity and accessibility in religious scholarship. Pros of "Apocrypha: Eleven New Testament Books: Large Print Book Review" Enhanced Readability The large print format significantly enhances readability, particularly for individuals with visual impairments or those who find smaller text challenging to read. This ensures that the content is accessible to a broader audience, improving user experience by making the material more approachable. As a result, readers can engage with the text without the strain often associated with smaller fonts. Comprehensive Content The inclusion of eleven New Testament books offers thorough coverage of these lesser-known scriptures. For readers and scholars interested in the Apocrypha, this comprehensive content provides substantial material for study and reflection. This depth ensures that the book serves as a valuable resource for those looking to deepen their understanding of these texts. Quality Printing and Binding The book's print and binding quality is often noted for its durability and aesthetic appeal. High-quality printing techniques and robust binding contribute to a pleasant tactile experience. This not only enhances the overall enjoyment but also ensures longevity, making it a valuable addition to a reader's library. Cons of "Apocrypha: Eleven New Testament Books: Large Print Book Review" Physical Size and Weight A potential downside to the large print format is the increase in the book's physical size and weight. This can make the book cumbersome to handle, particularly for those who prefer more portable reading material. The added bulk might detract from the convenience, especially for readers who enjoy reading on the go. Higher Cost Producing large print books often incurs higher costs, which are typically passed on to the consumer. This could make "Apocrypha: Eleven New Testament Books: Large Print Book Review" more expensive than standard print versions. For budget-conscious readers, the increased price might be a significant drawback, potentially limiting access for some. Limited Audience Appeal While the large print format is beneficial for specific groups, it may not appeal to the general reader who has no difficulty reading smaller print. This could result in a narrower audience, as those who do not require large print might opt for more compact editions. Consequently, the book’s reach and impact could be somewhat limited. FAQ What is "Apocrypha: Eleven New Testament Books: Large Print Book Review" about? "Apocrypha: Eleven New Testament Books: Large Print Book Review" is a critical examination and review of the apocryphal New Testament books that are not included in the canonical Bible. It focuses on providing insights and analyses of these texts, with the added benefit of a large print format for easier reading. Who is the target audience for this book review? The book review is aimed at scholars, theologians, students of religious studies, and general readers who have an interest in the New Testament apocrypha. The large print format also makes it accessible for readers who prefer or require larger text for easier reading. Why are these New Testament books considered "apocryphal"?

The apocryphal books are those that were not included in the canonical New Testament. This can be due to various reasons, such as their theological content, lack of widespread acceptance, or questions about their authorship and historical accuracy. How does the large print format benefit readers? The large print format is designed to make reading more comfortable, especially for individuals with visual impairments or those who experience eye strain with smaller text. It enhances readability and reduces the physical effort required to read the text. Does the book review include historical context and analysis? Yes, the book review provides historical context and in-depth analysis of the eleven apocryphal New Testament books. It discusses their origins, significance, and the reasons they were excluded from the canonical Bible. Will this book review help in understanding early Christian texts? Absolutely. The book review delves into the content and themes of the apocryphal texts, offering readers a comprehensive understanding of early Christian literature beyond the canonical scriptures. It provides valuable insights into the diverse beliefs and narratives present in early Christianity. Is it necessary to have prior knowledge of biblical studies to read this book review? While prior knowledge of biblical studies or early Christian history may enhance the reading experience, it is not required. The review aims to be accessible to both scholars and lay readers, offering explanations and insights that can benefit a wide range of audiences. How can I purchase "Apocrypha: Eleven New Testament Books: Large Print Book Review"? You can purchase the book review through major online retailers, bookstores, or directly from the publisher's website. It is recommended to check multiple sources for availability and pricing options. Are there other formats available for this book review? This specific review is available in a large print format to cater to readers who prefer or need larger text. However, you may find different formats, such as standard print or digital versions, from other publishers or authors who have reviewed similar texts. In conclusion, "Apocrypha: Eleven New Testament Books: Large Print" stands as an invaluable addition to both the scholarly and casual reader’s library, offering a unique and enriching examination of texts that, while not included in the canonical New Testament, provide profound insights into early Christian thought and traditions. This collection of apocryphal books opens a window into the diversity of early Christian writings, illuminating beliefs and practices that shaped the foundational years of Christianity. One of the central values of this compilation lies in its accessibility. The large print format ensures that readers of all ages and visual capabilities can engage with these important texts comfortably, fostering a more inclusive approach to biblical studies. This user-friendly feature does not compromise on the depth and integrity of the content, making profound theological exploration available to a broader audience. The "Apocrypha" compilation enriches the understanding of the historic and spiritual contexts from which these texts emerged. It invites readers to ponder over the narratives and teachings that existed alongside the canonical scriptures, offering perspectives that might otherwise be overlooked. By delving into these eleven books, readers gain a more comprehensive view of the theological diversity and emerging doctrines that characterized early Christian communities. Furthermore, the book serves as a crucial resource for scholars, theologians, and students of religious studies. The texts within grapple with themes of faith, morality, and divine interaction in ways that both complement and contrast with the accepted New Testament books. This dichotomy is not only intellectually stimulating but also encourages deeper critical thinking and richer dialogue about the nature of scripture and revelation.

In summary, "Apocrypha: Eleven New Testament Books: Large Print" is a treasure trove of early Christian literature that should not be overlooked. Its large print edition removes barriers to accessibility, and its compilation of non-canonical texts offers invaluable insights into the multifaceted landscape of early Christian beliefs. Whether you are a seasoned scholar, a theology student, or simply a curious reader with an interest in the roots of Christian thought, this book promises a rewarding and enlightening journey through the less traversed paths of early Christian writings.

[poemshubs]

A Poem A Day: Crossing the Bar Explanation

Welcome to Poem of the Day – Crossing the Bar by Alfred, Lord Tennyson.

“Crossing the Bar“ is a poem by Alfred, Lord Tennyson, written in 1889, just a few years before his death. The poem is often interpreted as Tennyson’s meditation on death and the transition from life to the afterlife. It is widely regarded as one of his finest works and is often recited at funerals.

Content

Sunset and evening star, And one clear call for me! And may there be no moaning of the bar, When I put out to sea,

But such a tide as moving seems asleep, Too full for sound and foam, When that which drew from out the boundless deep Turns again home.

Twilight and evening bell, And after that the dark! And may there be no sadness of farewell, When I embark;

For tho’ from out our bourne of Time and Place The flood may bear me far, I hope to see my Pilot face to face When I have crost the bar.

Crossing the Bar Poem Explanation

The poem is a metaphorical reflection on death, comparing it to a ship setting sail and crossing the “bar,” a sandbar that separates a harbor from the open sea. The speaker, who is preparing for his own death, expresses a sense of calm and acceptance. He hopes for a peaceful transition from life to death, where the tide will carry him gently across the bar and into the afterlife.

In the final stanza, the speaker expresses the hope to meet his “Pilot,” a metaphor for God, face to face when he has crossed the bar and entered the afterlife.

Themes and Analysis

Death and the Afterlife: The central theme of “Crossing the Bar” is death and the transition to the afterlife. The poem uses the metaphor of a ship crossing a sandbar to represent the journey from life to death. The speaker’s calm and serene tone suggests an acceptance of death as a natural and inevitable part of life, rather than something to be feared.

Faith and Trust: The poem reflects Tennyson’s faith in God and his trust in a peaceful afterlife. The “Pilot” mentioned in the final stanza is a metaphor for God, whom the speaker hopes to meet after crossing the bar. This belief in a higher power and a guided transition into the afterlife provides comfort and reassurance to the speaker.

The Journey of Life: The metaphor of a ship setting sail also represents the journey of life itself. The bar represents the boundary between life and death, and crossing it symbolizes the end of one journey and the beginning of another. The poem suggests that life is a journey with an inevitable end, but one that leads to a new, peaceful existence.

Calm Acceptance of Mortality: The tone of the poem is calm and reflective, indicating the speaker’s acceptance of his mortality. The imagery of the “evening star” and the “twilight and evening bell” evoke a sense of tranquility and closure, suggesting that death is a natural and peaceful transition.

Nature and the Cycle of Life: Tennyson uses natural imagery throughout the poem, such as the tide, the sea, and the sunset, to convey the cyclical nature of life and death. The ebb and flow of the tide symbolize the ongoing cycle of life, death, and rebirth, reflecting the continuity of existence beyond the physical world.

Structure and Form

“Crossing the Bar” is composed of four quatrains (four-line stanzas) with a consistent ABAB rhyme scheme. The poem’s rhythm is steady and gentle, mirroring the calm and reflective tone of the speaker as he contemplates his own mortality.

Tennyson’s use of simple language and vivid imagery makes the poem accessible and emotionally resonant. The metaphor of crossing the bar is extended throughout the poem, creating a cohesive and powerful reflection on the nature of death and the afterlife.

Significance

“Crossing the Bar” is a deeply reflective and serene poem that explores themes of death, faith, and the journey of life. Through the metaphor of a ship crossing a sandbar, Tennyson conveys a calm acceptance of mortality and a trust in the guidance of a higher power. The poem’s tranquil tone and vivid imagery create a powerful meditation on the inevitability of death and the hope for a peaceful transition into the afterlife. It remains a timeless piece that resonates with readers contemplating the nature of life, death, and what lies beyond.

[intelligencevidyarthi]

Understanding Similes: A Comprehensive Guide

Introduction

Similes are a fundamental literary device used to create vivid imagery and comparisons in writing. They enhance the reader’s experience by drawing parallels between disparate elements in a way that clarifies or intensifies the meaning. This article delves into the concept of similes, exploring their types, applications, and significance in various forms of writing.

What is a Simile?

Importance of Similes

Similes are crucial in literature and everyday language because they make descriptions more relatable and engaging. They can convey complex ideas in a more understandable and impactful manner, enriching both narrative and descriptive writing.

Types of Similes

Similes can be categorized based on their function and the type of comparison they make:

1. Standard Similes

These are the most common type, using straightforward comparisons:

Example: “He runs like the wind.”

2. Extended Similes

These involve more elaborate comparisons that extend over several sentences or phrases:

Example: “The city lights twinkled in the distance like stars in the night sky, their reflections shimmering on the calm waters.”

3. Implied Similes

These imply a comparison without explicitly stating it:

Example: “The room was a zoo,” implies that the room was chaotic without directly saying it.

Common Examples of Similes

To understand similes better, consider these common examples:

“Busy as a bee”: Compares someone’s busyness to that of a bee, emphasizing their activity.

“Strong as an ox”: Highlights someone’s physical strength by comparing them to an ox.

The Role of Similes in Literature

In literature, similes are used to add depth and creativity to characters, settings, and actions. They help readers visualize scenes and understand emotions better.

1. Character Descriptions

Similes can bring characters to life by providing more vivid and relatable descriptions.

Example: “Her eyes were like emeralds, sparkling with a mysterious allure.”

2. Setting Descriptions

Describing settings with similes can create a more immersive experience.

Example: “The forest was as quiet as a graveyard, with only the rustling of leaves breaking the silence.”

3. Emotional Impact

Similes are effective in conveying emotions and moods.

Example: “His heart was heavy as lead, weighed down by sorrow.”

Crafting Effective Similes

Creating impactful similes involves choosing comparisons that resonate with the reader and fit the context. Here are some tips for crafting effective similes:

1. Be Original

Avoid clichés and strive for fresh, original comparisons that provide new insights.

2. Ensure Relevance

Make sure the comparison is relevant to the context and enhances the meaning of the sentence.

3. Use Concrete Imagery

Opt for comparisons that evoke clear, tangible images in the reader’s mind.

Similes vs. Metaphors

While similes and metaphors are similar in their function of comparison, they differ in execution:

1. Similes

Structure: Uses “like” or “as.”

Example: “Her voice was like music.”

2. Metaphors

Structure: Directly states one thing is another.

Example: “Her voice was music.”

Applications of Similes in Different Genres

Similes are versatile and find use across various writing genres:

1. Poetry

In poetry, similes enrich the text by adding layers of meaning and enhancing the lyrical quality.

2. Prose

In prose, similes help to create vivid imagery and deepen character development.

3. Dialogue

Similes in dialogue can reflect a character’s personality and add realism to their speech.

The Power of Similes in Everyday Language

Similes are not confined to literature; they are prevalent in everyday language, making our speech more expressive and colorful.

People often use similes to describe feelings, actions, or situations in a relatable manner.

2. Advertising and Marketing

Similes are frequently employed in advertising to create memorable and appealing messages.

Challenges and Pitfalls

While similes are powerful, they can also pose challenges:

1. Overuse

Excessive use of similes can make writing feel cluttered or forced.

2. Clichés

Relying on clichéd similes can make descriptions feel stale and unoriginal.

Conclusion

Similes are a valuable tool in both creative and everyday language. They enhance writing by making comparisons more vivid and relatable. By understanding and using similes effectively, writers can enrich their storytelling and connect more deeply with their readers.

FAQ

Q1: What is the difference between a simile and a metaphor?

A simile uses “like” or “as” to compare two different things, while a metaphor states that one thing is another.

Q2: Can similes be used in professional writing?

Yes, similes can enhance professional writing by adding clarity and vividness to descriptions.

Q3: How can I avoid using clichés in my similes?

To avoid clichés, strive for original comparisons that offer fresh insights and resonate with the context.

Q4: Are similes effective in poetry?

Yes, similes are widely used in poetry to add depth and create vivid imagery.

Q5: How do similes impact reader engagement?

Similes make descriptions more relatable and vivid, which can enhance reader engagement and interest.

[loquaciousstrigidae]

Visual Metaphor in A Silent Voice 

I wanted to list some recurring symbols that I noticed while watching this movie. A Silent Voice has some really excellent imagery that serves as a conduit for beautifully profound storytelling.

Both times that Shoya and Shouko nearly ended their lives, fireworks were present in the skies of the scenes. Fireworks can often be seen as representations of life, for they are short, bright, and impactful. The tonal contrast of celebratory fireworks and the dread of a life potentially lost illuminates the mistake that would have been made if either character went through with their actions. Considering this, fireworks can also symbolize the hope that life can change for the better.  

An especially prominent visual feature of this film is Shoya’s Xs over the faces of those he has shut out from his life. They signal his unwillingness to interact with others, stemming from his trauma and shame from elementary school.  But as the film progresses, there are moments when Shoya oscillates between dropping the Xs and replacing them once more. These moments allow the audience to see precisely when Shoya begins to accept or reject people in his life. 

The juxtaposition between the beginning of the film, where all that Shoya sees are Xs, and the end, where all of the Xs drop from peoples faces together, is a beautifully impactful scene that displays Shoya’s change in perspective towards his ability to connect with others. 

Bridges are representative of the connections that we have with those around us. Shoya “burned” bridges with his classmates, even preventing himself from connecting with new people as well. The primary ‘bridge’ that Shoya works to rebuild is the one between him and Shouko, so throughout their relationship, we see them meet in the middle of a bridge that extends over a river of koi. 

7/10