#post apocalyptic essays

[gottaarc]

Might start posting entire academic essays featuring media analysis to my blog

[bigcats-birds-and-books]

Books of 2024: ALWAYS COMING HOME by Ursula K. Le Guin.

The people have Spoken, so I'll be reading this 618-page brick next! The cover page credits the author, an artist, a composer, a geomancer (??), and the author of the intro, so. I suspect I'm in for a Ride™. I am both Excited and Intimidated--will report back on how this goes!

[origin-spirits-of-the-past]

Turns out writing a freeform meta analysis on Origin: Spirits of the Past, specifically Agito’s arc interpreted as trans allegory makes you(me) a little unhinged

[lordsammichsilas]

I started a drawing of Preston and the settlers from Quincy last week and forgot about it. I’m working on Piper today and I have Hancock and Deacon in my queue, but wanted to post this and maybe finish it soon.

[rotzaprachim]

on another note on something i am SURE media analysis has been done On but which has really been digging into my brain is the whole zombie apocalypse as distinctly bush-era and onward conservative fantasy. it’s about the situation where 99% of the world dies but the Guy with a Gun lives and there being almost a sick enjoyment, sometimes, but if not that then the world weary sigh about how This is what it Takes to keep living. it’s about the literal creation of a world in which there’s some reason one HAS to have guns to survive, HAS to put up walls around every inch of their *space* to keep those Guys out. a lot has been written about lovecraft’s violent racism and imperialism in terms of how he saw the Hordes of literlaly everyone not a white anglo-saxon, but to me there’s something in the whole zombie plague of internal invasion and home invasion that really plays into the most violent aspects of anti-immigration sentiments - and of course, those guys have to be shot. there’s a lot to say too i think about the zombie genre therefor as evolution from the frontier-thesis western genre. if there is no more obvious enemy at our borders one comes from the inside.

and it’s all really interesting, and has aged in fascinating ways in terms of how i think us-based conservatism itself has shown a collection of ideologies incredibly brittle in the fact of pandemic and upheavel. (this isn’t so much about the broader structures of corporate-capitalism, obviously, which i think can be said to be both brittle and disturbingly strong in how it can feast off disaster and instability in terms of financial gain and control of power, which is... not something i can think of zombie narratives discussing much?) i’m taking more about individual people and communities. i don’t think the zombie genre is paradoxical to conservatism’s brittle nature, but rather, part of it entirely. it’s the odd fantasy- what if there was a problem we could SHOOT? we live in a world in which conservatism has refused to prepare adequately for financial crisis (many insurance measures are of course Bad for Business) and ultimately turned a completely blind eye to the very real apocalyptic nature of climate change - so much as it might be bad for Business, the  climate change  hoax narrative has very much been swallowed by many in the working class without systemic benefit from that business and much to loose from climatic disaster. and in recent history us conservatism turned a completely blind eye to coronavirus. what do we do with a real pandemic when there’s no one to shoot? looking back retrospectively at the last fifteen years of zombie media comes with the weird realisation that with a supposed virus on, no one is wearing a mask- and if anyone is quarantining or practicing social distancing, it’s never the good guys. 

which leads to the odd feeling that the zombie apocalypse genre provides an odd catharsis, even fantasy. we live in a world facing apocalyptic times and with many global governments (not to mention corporate-capitalist structures) doing exceptionally poorly in the midst of it. the zombie apocalypse genre takes that existential fear and recognises it through the prism of conservative and settler colonial ideologies, but also through comic book and horror movie and video game logic. the end of the world may come, you can shoot the end of the world! it’s the worst case scenario written down in a Comprehensible way. i find the fantasy elements therefor entwined fascinating. the zombie virus on whole is both wildly more contagious, kill-everyone, world-endingly terrible than any virus in human history (or rather, it appeals to a sense of Absolute Extremism that... 80% of the world dies immediately or whatever rather than looking to the very real fact that a few percent of infected dying is STILL AN AWFUL LOT OF PEOPLE and the mechanics of social breakdown in the fact of pandemic throughout history are complex and horrific within those *lower* death rates) but also less contagious than most viruses because our Protagonists have to be scratched or bitten in order to be Infected - those up close knock-em-down hatchet fights that leave already scratched-up protags covered in zombie organs or blood don’t pose a real threat of infection! the end of the world virus has to be.. a lot less infectious than many real world viruses. a watered down virus.

 likewise a lot of the issues of social organisation and supplies. zombie apocalypse narratives rarely venture into legitimate exploration of post apocalyptic agriculture, pharmaceuticals, energy or medicine- all those pesky aspects of human existence that highlight how interdependent and fragile our needs may be, and how complex communal structure would have to be to build anything anew- so people live off Raided items years out into the apocalypse. they drive massive cars and tankers years past the apocalypse even though most gasoline has a six month to three year shelf life, depending. they rarely need insulin or b12 injections or thyroid medication, and if a medical problem comes up can usually just take the raided drugs for it, regardless of any need for medical equipment or facilities. they can also just eat canned goods decades past their point of edibility. the fact that for a Zombie apocalypse things to WORK a lot of the day to day struggles with survival have to be glossed over fascinates me. i think it even further reflects aspects of the white male conservative working and middle american worldview, which sees itself as particularly up-by-the-bootstraps fending for ourselves TOUGH when living in a social and system that softens their lives through the exploitation of the labour of people of color and women and global us-based exploiation. who cares about who farms the food or does the cooking in an apocalypse? but to elude those questions - and also zig zag around the whole nature of the post-apocalyptic feudal societies humanity is narratively edging into being based around agriculture- requires living in a world where canned goods last ten years past when they probably would be edible. but at least you might not have to talk to your neighbors

[meat-wentz]

i’d love hearing your thoughts on parasite (2019) if you’ve watched it :D

i looooove parasite and i love the way bong joon-ho physically visualizes class structure, like the back of the train to the front of the train in snowpiercer and the literal underground to above ground manifestation of wealth in parasite. he’s one of those directors that’s ridiculously adept at using his medium to demonstrate his themes with such visual impact and i want to kiss him severely. while i think parasite is probably his most important film, i carry the host and memories of murder in my heart always always always as my mostest favorite.

[kyngsnake]

I loooove love love avery... as a trans masc myself it is so so fun to see trans characters in media, makes me so happy to see them bc i believe we deserve more. (I treat trans ppl in media like that spongebob icecream meme)

Also i know ur not having a great day in general, but I hope at least some peace comes to u and those u love, that there is rest and good days in your future, and that you are happy and safe and surrounded by your loved ones once more ♡♥︎

thanks! I get a lot of catharsis out of making trans Fallout characters and putting painstaking, sometimes a little obsessive detail into working out the logistics of transitioning in the wasteland, how conceptualization of gender might’ve changed in the post-war world, etc. I’d honestly kind of consider it a very niche special interest lol

and thank you, I really appreciate the kind words, it means a lot.❤️

[deciphered-narrator]

i can't believe it took me this long to realize that other computer science majors do stem classes for their electives. i have to do humanities or i'll kill myself

[secretmellowblog]

People who try to analyze what happened on Tumblr on November 5th, 2020, often really overstate how much it was actually “about” Supernatural. As someone who has never been in the supernatural fandom ever but dID join in on the hysterical destielposting—it was really more about the stress of the pandemic and the 2020 presidential election.

The two biggest Youtubers I’ve seen try to dissect “what happened that November 5th” in video essays both weren’t American—- and I think that explains why they both tried to explain the hysteria primarily via analyzing the Supernatural fandom/the original show, rather than through the lens of the election. And while those videos are cool, valid, informational, and make lots of really well-considered interesting points— I can tell you that me and almost all my mutuals had literally no knowledge or interest in the fact that “oh supernatural had made nods at the ship in the past but the creators were adamant that I wouldn’t be canon” or etc etc etc etc. the first time I learned about any of that context was way later, watching videos where people claimed that fandom history context (that I did not know anything about) was the actual reason for the hysteria.

But the reality is that people latched on to the Destiel stuff because it was a piece of big useless inane zero-stakes fandom news in a time when we were desperately waiting for serious high stakes election news. We were latching onto a “positive “ piece of inane stupid fandom news in a time of great stress, with all the desperation of a drowning man who latches onto whatever piece of wood will keep him afloat.

The core of the hysteria was that Americans (who make up a huge chunk of tumblr’s userbase) were currently glued to their laptops watching the live presidential election vote counts come in. These vote counts were taking an extended amount of time due to the pandemic causing high numbers of mail-in ballots, resulting in a constant state of Election Day Stress for multiple days straight.

This was also during the height of the Pandemic. People had predicted Trump’s presidency would be bad; no one had predicted it would be this apocalyptically bad. No one had predicted pandemics and lockdowns and hospitals overflowing with bodybags. remember Trump spreading Covid lies and conspiracies?? There were so many Qanon conspiracies about democrats being Satanic child traffickers who had to be put to death, and coup threats were mounting from the right wing side. It seemed like this election was a choice between ‘centrist democrat’ and “apocalyptic right wing conspiracy theory authoritarianism,” in the midst of pandemic conditions that people feared would never ever improve— and it seemed like a close election.

Another major point was that Trump voters were more likely to be antimaskers/Covid deniers, while Biden voters were more likely to take the pandemic seriously— so Biden voters were more likely to send in mail-in ballots instead of risking the in-person voting crowds, which meant their ballots would take much longer to count. And so, in many state electoral vote counts, it would initially seem like Trump was very far in the lead— only for Biden to slooooowly build up an agonizingly small lead as the mail in ballots came in, and then defeat Trump at the very end.

So you’re just watching these news sites giving live election updates, refreshing the page every 2 minutes to see if you’re going to live under a spineless centrist democrat or a literal Qanon Dictatorship. And then you go on tumblr to distract yourself, and there’s more election posting, and more agonizing over the votes, and more stress and despair—-

And then it’s been days and we’re right at the crucial tipping point where it’s anyone’s game and the next few hours will determine whether Trump will win, so you need to keep your eye on the vote count, because the next hours will determine the future of the pandemic and your country and your plans for your entire life—

And then stupid Destiel becomes canon! And it becomes canon in the silliest way possible!

If Destiel had become canon at any other time, it would have been a big goofy tumblr celebration? But we wouldn’t have gotten the insane explosion of hysterical interaction.

The entire core of it was the contrast between the inane meaningless stupidity of fandom news vs the actual stressful election news you wanted to hear! It really is best conveyed in that meme where Castiel says “I love you” and Dean indifferently responds with a piece of important election news.

It’s about the contrast between the low-stakes inanity of fandom and the massive life-destroying stakes of a terrifying election. There really was no reason it had be Supernatural specifically, except that Supernatural was a thing everyone knew basic things about from dashboard osmosis— it could’ve been any other equally huge silly fandom ship news about a ship everyone *knew of* but might not necessarily be invested in (ex. Stucky becoming canon, Johnlock becoming canon, Kirk/Spock becoming more canon somehow, etc etc etc.)

I think it’s true that people who weren’t paying agonizingly close attention to the American election news got swept up in it, and that non American Supernatural fans also were extremely excited for purely fandom reasons — but the entire reason it blew up to an unprecedented degree was because of that core of stressed out terrified Americans glued to their computers watching election results and suddenly receiving stupid fandom news instead, and deciding to just hysterically parodically hyper-celebrate this absurd useless zero-stakes news.

I think it was also all elevated by the fact that, as I said before, this happened at the crucial “tipping point” of the election where the next few hours would determine the winner. The fact that Biden began to slowly develop a lead in the hours after made it feel, hysterically, as if the hours after Destiel became canon was somehow the turning point where he began to win; so celebrating Destiel felt like celebrating that slow turn towards victory.

The tl,dr is that it’s so important to Remember the Fifth of November …..in preparation the inevitable hysteria that will happen in the presidential election on November 5th of next year. XD. Personally I’m rooting for Johnlock or Frodo/Sam to somehow become canon in the eleventh hour right before the democrats win

[vampyverse]

THE LAST OF US FUNGAL INFECTION - INSPIRATION, ORIGIN, AND MUTATION:

INSPIRATION:

The fungal infection within The Last Of Us is fundamental to both the narrative of both the game and the TV show, but what was the inspiration for the infection?

The infection within the game, known as The Cordyceps Brain Infection (CBI), was inspired by a real parasitic fungal infection known as Ophiocordyceps unilateralis after the developers were inspired by an episode of Planet Earth that showcased an ant with this infection.

Ophiocordyceps unilateralis, also known as the zombie-ant fungus, is a fungus that alters the behaviour of an infected insect as spores penetrate the insects exoskeleton through pressure and enzymes and take control of their body by releasing toxins into their brain.

The fungus's main purpose is to reproduce and spread the infection so hijacks the ant's brain and compels them to leave their canopy nest to find a humid environment, prime for the growth of fungi, and attach itself to the underside of a leaf.

As the infection continues to grow, the fungi will drain the ants body of all nutrients before a fruiting body breaks through the ant's head in order to release the fungus's spores and continue spreading the infection to other nearby insects. Within 4-10 days the ant's body will have deteriorated to the point of death and the body will remain stuck to the underside of the leaf.

Currently, this fungus only infects insects, however The Last Of Us draws on the question, what would happen if this infection evolved to infect humans too?

In a recent article from Craig Mazin, producer and writer, and Neil Druckman, creative director of the game, spoke about the inspiration for the games infection. “We know from watching movies that there’s a zombie virus but we’re not doing a virus”, instead they decided to lean into science and nature to try and ground the games infection within a horrifying but possible reality, “we are realizing that fungus can be deadly and the very things we fiddle about with to expand our minds are very powerful neurotoxins and psychoactive drugs that can take over lesser organisms completely, and there’s no reason to think that this couldn’t happen in higher organisms as well." (quote sourced from here)

INFECTION ORIGIN:

In The Last Of Us, a mutated strain of the Ophiocordyceps Unilateral infection known as the Cordyceps Brain Infection (CBI) spread approximately on September 26th 2013, the date of Joel's birthday.

It's revealed through a newspaper report within the game that a “mysterious infection” had spread via “contaminated crops”, which in the show is said to be items such as wheat and sugar.

However, when someone is infected they spread the infection through biting others and once the host dies, their body will begin to release infectious spores, similar to the fruiting body of ants infected by the Ophiocordyceps unilateralis. Because of this, in both the show and games it is implied that the infection spreads much faster and ruthlessly within buildings and densely populated cities. However, survivors can protect themselves from deadly spores by wearing gas masks to filter the air.

Once a host is infected, symptoms will begin within a couple of days, with many notes within the game revealing that the infection started with flu-like symptoms, such as headaches and confusion before developing into aggressive and erratic behaviour.

The fungus grows while the host is still alive, developing over time to create multiple stages of infection. However, due to the mutation of the Cordyceps infection with some form of virus, the infection continues to affect the host while keeping them alive, rather than killing them from the inside like the Ophiocordyceps unilateralis infection.

STAGES OF INFECTION:

[ 1 ] RUNNERS

Runners are the first and weakest stage of infection that takes place approximately two days or less after infection once the Cordyceps have taken over the victims motor functions. They migrate in hoards to swarm enemies and are known for their speed, erratic behaviour, and aggression. As this is the earliest sign of infection, many runners still hold their human traits, such as crying and screaming, however the fungus has begun to affect their eyesight and give them a sickly appearance. Due to their human qualities, it's believed that the hosts are still fully conscious during this stage of infection.

[ 2 ] STALKERS

Stalkers are the second stage of infection, between two weeks to a month after initial infection. During this stage the fungus has begun to develop across their face, however, they still have human-like characteristics. Stalkers are easily recognisable due to their fast speed and intelligent tactics in order to ambush their victims. While they display a stealthy approach to hunting victims, once they are face to face with their victims they become extremely violent. If isolated within a building, the fungus may grow and cause them to be attached to the wall, where they will eventually become overgrown and die unless a survivor comes close, causing them to break free and attack.

Stalkers are mostly silent, making them unlikely to spot on listen mode, however at this stage of infection they have begun to possess echolocation, similar to that of clickers. When coming into contact with stalkers it is important to check your surroundings.

[ 3 ] CLICKERS

Clickers are the third stage of infection in 'The Last of Us' universe, that appear after approximately a year of exposure to the cordyceps fungal infection. They're easily recognisable due to the fungus growth that has mutated and overrun their face, leaving them completely blind with layers of fungus covering their entire body.

This loss of sight has led them to develop a weak form of echolocation in order to locate prey through sound waves, causing them to create unsettling clicking and screeching sounds and become extremely sensitive to sound. While they have developed a form of echolocation, it is not strong enough for them to locate nearby prey unless they make sound by running or are stood directly in front of them, making it possible to sneak past them if needs be.

Clickers are also stronger and more aggressive than both runners and stalkers due to the development of hard fungus that provides protection for clickers from certain attacks, making it harder to kill them as they're defended by a shield of fungus mass.

[ 4 ] BLOATERS

Bloaters are the fourth stage of infected that form after years of exposure to the cordyceps fungal infection, making them extremely rare as very few people are able to withstand the effects of the infection long enough to become a bloater.

As clickers become bloaters, their echolocation massively improves and allows them to locate targets through sound waves, regardless of where they are around them.

Bloaters are known for their physical strength and aggression, often instantly killing their victims once they are within melee attack range. However, they are also extremely tough to kill due to the thick fungus that covers their entire body, allowing them to withstand large amounts of brute force.

In addition to their brute force, bloaters also have the ability to release bombs of mycotoxin, a deadly toxin produced by fungi, that causes damage to humans over time and allows for distance attacks as well as their melee strength.

[ 4.5 ] SHAMBLERS:

Shamblers are a type of infected, first seen in The Last of Us part two, that form when clickers that are transforming into bloaters are exposed to high levels of water or humidity, making them common in sewers and rainy environments.

Similar to bloaters, shamblers are covered in fungal growth that provides a layer of protection and also have the ability to attack prey using acidic mycotoxin spores, that are also released after they die. However, unlike bloaters, shamblers are not entirely blind allowing them to hunt prey using sight rather than echolocation but are slightly weaker than their related stage of infection.

END NOTES :D

hi guys !! i'd just like to start this by saying thank you if you managed to reach the end of this slight infodump. i'm genuinely not an expert in fungal infections, just a giant nerd who's obsessed with the last of us.

i'm planning on making a seperate post on the rat king as, as far as i'm aware, there has only been one. plus, there's more to say about the rat king than other infected.

i'll put a link to it here once it is done ->

[natalieironside]

(icon by @neladoesart)

Hi! I'm Natalie. I'm trans of gender and ace of sexual and I write dark fantasy and dark sci-fi adventure stories full of boners and thud-and-blunder action violence wherein no swash remains unbuckled, nor pot unboiled. I also blog about books and history and languages and I write essays and poetry sometimes, and don't forget about the many exciting Age of Empires 2 scenarios available at Natalie's Cool Website.

You might have heard my short story The Wishing Tree on the Tales to Terrify podcast! (now available as a zine from Grinning Kitten Press). Other stuff I’ve published to date includes:

THE LAST GIRL SCOUT: A post-apocalyptic wasteland adventure story and transbian romance about two women who fall in lesbians together and fight Nazis and draculas in the bombed-out ruins of Old America

LEAD AND ROSES: LOVE SONGS AT THE END OF THE WORLD: A collection of short fiction set within 23rd-century post-nuclear wasteland we’ve all come to know and love

IN THE COURT OF THE NAMELESS QUEEN: A collection of dark fantasy f/f erotica about sexy swashbuckling swordswomen (both cis and normal) and a giant scary monster lady in a far-off realm of adventure and dark magic.

If you're curious I'd really like it if you'd check out my Patreon because there's even more fantabulous treasures on there and you can subscribe for the low, low price of just one American dollar. Your one American dollar will go toward the ever topical "Natalie can make rent and doesn't starve" philanthropy fund.

I'm gonna stay here on Tumblr until they forcibly remove me from the premises, but I'm also on Pillowfort, Bluesky, and Cohost

:)

[headspace-hotel]

Just spent a couple hours digging into this book. I'm not even sure what has worse environmental impacts, the paper the book is made of or the opinions printed within.

Is "post-colonial" literary theory a joke? It's distressing that a book printed in 2021 by a reputable academic press can be so painfully Eurocentric, and I mean PAINFULLY. The philosophical and literary frameworks drawn upon in most chapters are like what some British guy in 1802 would come up with. In most of the chapters, every framework, terminology, and example is inseparably fused to Latin, Greek, and/or Christian philosophers, myths and texts, even down to the specific turns of phrase. You would think only Europeans had history or ideas until the 20th century.

Don't get me wrong, non-european and even specifically anti-colonial sources are used, and I don't think all the writers are white people, but...that's what's so weird and off-putting about it, most of the book as a whole utterly fails to absorb anything from non-European and in particular anti-colonial points of view. The chapters will quote those points of view but not incorporate them or really give their ideas the time of day, just go right back to acting like Plato and Aristotle and Romantic poets are the gold standard for defining what it means to be human.

In brief, the book is trying to examine how literature can shed light on the climate crisis, which is funny because it completely fails to demonstrate that literature is good or helpful for the climate crisis. Like that is for sure one major issue with it, it shows that people *have* written stuff about climate change, but it sure doesn't convince you that this stuff is good.

Most of the works quoted are rather doomerist, and a lot of the narrative works specifically are apocalypse tales where most of Earth's population dies. The most coherent function the authors can propose that literature fulfills is to essentially help people understand how bad things are. One of the essays even argues that poetry and other creative work that simply appreciates nature is basically outdated, because:

“One could no longer imagine wandering lonely as a cloud, because clouds now jostle in our imaginations with an awareness of atmospheric concentrations of carbon dioxide and other atmospheric pollutants” (Mandy Bloomfield, pg. 72)

Skill issue, Mandy.

The menace of doomerism in fiction and poetry is addressed, by Byron Caminero-Santangelo, on page 127 when he references,

the literary non-fiction of a growing number of authors who explicitly assert, some might even say embrace, the equation between fatalistic apocalyptic narrative and enlightenment…they are authoritative in their rejection of any hope and in their representation of mitigatory action as the cliched moving of deckchairs on a sinking ship

He quotes an essay “Elegy for a country’s seasons” by Zadie Smith, who says: “The fatalists have the luxury of focusing on an eschatological apocalyptic narrative and on the nostalgia of elegy, as well as of escape from uncertainty and responsibility to act." Which is spot-on and accurate, but these observations aren't recognized as a menace to positive action, nor is the parallel to Christian thought that eagerly looks forward to Earth's destruction as a cathartic release from its pain made fully explicit and analyzed. Most of the creative works referenced and quoted in the book ARE this exact type of fatalistic, elegiac performance of mourning.

I basically quit reading after Chapter 11, "Animals," by Eileen Crist, which begins:

The humanization of the world began unfolding when agricultural humans separated themselves from wild nature, and started to tame landscapes, subjugate and domesticate animals and plants, treat wild animals as enemies of flocks and fields, engineer freshwater ecologies, and open their psyches to the meme of the ‘the human’ as world conquerer, ruler and owner.

This is what I'm talking about when I say it's dripping Eurocentrism; these ideas are NOT universal, and it's adding nothing to the world to write them because they fall perfectly in line with what the European colonizing culture already believes, complete with the lingering ghost of a reference to the Fall of Man and banishment from the Garden of Eden. It keeps going:

“Over time, the new human elaborated a view of the animal that ruptured from the totemic, shamanic and relational past.”

Okay so now she's introducing the idea of progression from shamanic nature-worshipping religions of our primitive past...hmm I'm sure this isn't going anywhere bad

“While humanity has largely rejected the colonizing project with respect to fellow humans, the occupation of non-human nature constitutes civilization’s last bastion of ‘normal’ colonialism. A new humanity is bound sooner or later to recognize and overthrow a colonialism of ‘nature,’ embracing a universal norm of interspecies justice.” (pg. 206) 

OKAY????

Not only denying that colonialism still exists, but also saying that humans' relationship with nature constitutes colonialism??

Embracing limitations means scaling down the human presence on demographic and economic fronts…(pg.207)

ope, there's the "we have to reduce the human population"

Embracing limitations further mandates pulling back from vast expanses of the natural world, thus letting the lavishness of wild (free) nature rule Earth again” (pg. 207) 

aaaaaaand there's the "we have to remove humans from wild nature so it can be freeeeeee"

don't get me wrong like I am a random white person with no particular expertise in anti-colonialist thought but I think this is an easy one. I'm pretty sure if your view of nature is that colonialism involving subjugating humans doesn't exist any more and actually humans existing in and altering nature is the real colonialism so we should remove humans from vast tracts of earth, your opinion is just bad.

Anyways y'all know I have an axe to grind against doomerism so it was probably obvious where this was going but good grief.

[d20-lesbian]

AFTER AN OVERWHELMING WAVE OF SUPPORT AND ENCOURAGEMENT, I'VE DECIDED TO POST THE WILL WOOD ESSAY!!!! it's below the break !!!!

I would like to really quickly state though that this essay is my property, I put a lot of time and effort into this, so please don't claim it as your own !!!! thank you <33

I will be analysing Will Wood’s song ‘Suburbia Overture / Greetings from Marybell Township! / (Vampire) Culture / Love Me, Normally’. which, for simplicity, most fans refer to as simply ‘Suburbia Overture’. This song is the first on his first solo album entitled ‘The Normal Album’, which came out in July 2020.

This song, in the most general possible terms, is a criticism of modern suburban life, how it is advertised as “the perfect life”, and how this advertising is incredibly false unless you fit the picture perfect standard that these facets of society seem to require.

The song itself is split up into 3 distinct sections, "Greetings from The Marybell Township!", “(Vampire) Culture” and “Love Me, Normally”. I'll be tackling each section one at a time in order to properly break down what each means, what different analogies they use, how they all relate to each other and the intended end result of the song and the message it intends to convey.

Let's begin with 'Greetings from The Marybell Township!'.

This section of the song uses a lot of analogies that compare suburban life to a warzone, the first line of this section being “white picket fences, barbed wire and trenches”. This section also focuses heavily on the concept of the nuclear family, and it often literalises the term and uses analogies based around radiation and nuclear warfare. Such analogies can be found in lines such as “the snap crackle pop of the Geiger, camouflage billboards for lead lined Brookes Brothers”. Now there's a couple of terms that require definitions in this line. The first of course being “the Geiger”. A Geiger counter, which is what this lyric is referring to, is a tool used to measure levels of harmful radiation. This, paired with the concept of billboards advertising “lead-lined Brookes Brothers” when lead is a material used to deflect radiation, and the knowledge that ‘Brookes Brothers’ is an American vintage style clothing brand, this line really paints a picture of a seemingly post apocalyptic/post nuclear war but still consumerist and capitalistic suburban society. The last line in that verse is “buy now or die”, which ties back to the concept of safety equipment being advertised on billboards, while residents of this town have no choice but to buy the products. This all relates back to the hyperconsumerism that plagues our society, and runs particularly rampant in middle to upper middle class neighbourhoods. The very same neighbourhoods that are often referred to as “suburban”

In the second verse of this section there are a lot of hard hitting lyrics that to me really show that this perfect idealised life is far from perfect or even good, so we will work through them one by one because I feel that they all deserve proper analysis.

The first line that i want to point out from that verse is the line “takes a village to fake a whole culture” which is clearly a rip off of the phrase “it takes a village [to raise a child]” but it also references the fact that usually suburban towns are incredibly monotonous in both residents and architecture, and so it takes the collective effort of the entire population of the town to pretend that there is an actual culture to it.

The next few lines I'll speak on all come in quick succession of one another, essentially blending them into one line.

“Your ear to the playground, your eye on the ball, your head in the gutter, your brains on the wall.”

So let's break these down. This line is easily split into 4 distinct phrases, and all of these phrases have a few things in common, which I will point out later.

“Your ear to the playground” is a play on the phrase “ear to the ground” which essentially means that the person with their ‘ear to the ground’ is attempting to carefully gather intel about something. Someone having their ear to the playground simply reinforces the idea of this suburban “paradise” being. Not as paradise-y as one would hope, seeing as the people who use playgrounds most of all are children, so this line is demonstrating that the picture perfect life that this suburban town offers is actually corrupting children so young that they are still on the playground.

The next phrase is “your eye on the ball” isn't a play on anything and is in fact in itself a common phrase. To have your eye on the ball means to be entirely focused in and paying attention to something, and not allowing anything to divert your attention. Given the last line this line very well could be another reference to the corruption of the youth and the idea that their every day play has already been tainted with the hostilities of modern life usually reserved for adults.

Following this is another well known saying “your head in the gutter” which, as most know, someone whos head is ‘in the gutter’ is someone who will see some sort of innuendo or otherwise vulgar/inappropriate meaning in something that was intended to be entirely innocent, leading to others in the interaction telling the perpetrator to ‘get [their] mind out of the gutter’

And finally, in my opinion the most hard hitting phrase in this set, “your brains on the wall” which is clearly in reference to the notion of ending your own life with a shot to the head, which would lead to, well, brains being on the wall. These last 2 phrases come in stark contrast to the seemingly picture perfect life that suburban towns offer and advertise, the concepts of suicide and perversion are not concepts one expects to see or hear when imagining this idealised form of life.

There is one main similarity in each of the 4 phrases, that being that each phrase has some body part being on something else, your ear to the playground, your eye on the ball, your head in the gutter, your brains on the wall. This similarity almost offers a body horror aspect to the song, which when paired with the concept that this is written about a seemingly post nuclear apocalyptic town presents an interesting idea of possible mutation, but i'll be the first to admit that may be a little far fetched. However that's not the only similarity that these 4 phrases share, another is the fact that they are all directly, or only slightly modified versions of already well known phrases, a similarity that is found in many lines over this entire song, through all 3 sections.

I want to analyse a few more lines before we move on to the second section of the song.

This next line comes directly after the previously analysed line, and it goes “home is where the heart is, you ain't homeless, but you’re heartless”

Sticking with the theme of using already existing and commonly used phrases, “home is where the heart is'' is once again a phrase that you could likely find as a cross stitch hung up on the wall of any of the homogenous houses you could likely find in this idealised suburbia. But what Wood is saying in this line is that home is where the heart is, and that while people in this town may not be homeless, they are certainly heartless, meaning that they in fact don't have homes. They have houses. Rows upon rows of houses that all look the exact same in the horrifying monotony that is suburban living.

Following this line is the lyric “it's the safest on the market, but you still gotta watch where you park it”. These lines seem to be in reference to buying a car. The car being the "safest on the market" is likely in reference to the fact that it may have a lot of safety features. But this is immediately negated by the fact that you “still gotta watch where you park it” meaning that the safety features could be a reason that the car gets stolen, rendering all the safety that those features offered useless because in the end it made the car and the owner less safe.

In the third verse of this section, you immediately hear the line “so give me your half-life crisis” which partially is a play on the term ‘mid life crisis’ wherein which one realises that they may have wasted their life up till that point and they're already halfway through, but the use of the term “half-life” instead of ‘mid-life’ is very intentional, as the term “half-life” can also be used to refer to the half-life of an isotope, which is the amount of time that isotope takes to lose half of its radiation, which ties back into the theme of radiation that we see mentioned a lot in this section.

Later in the same verse is the line “if it's true that a snowflake only matters in a blizzard”, which is interesting in a few ways, first, it brings up the idea of a singular individual means nothing on their own and that they only matter when they’re part of something larger or a larger group, but i also think that the use of the terms “snowflake” and “blizzard” instead of something like ‘raindrop’ and ‘storm’ is very intentional in the fact that snowflakes are known for being individual, none are alike, every single one is different. So saying that a snowflake doesn't matter unless it's in a blizzard is yet another hit at individuality, essentially implying that in this town individuality means nothing and is essentially rendered useless.

The final line in this verse is “everybody's all up in my-” repeated thrice, and on the third time the sentence is finished to say “everybody’s all up in my business” and before the word “business” can be finished its overlapped with the beginning of the chorus, the first word of which is a very loud “SUBURBIAAAA!”. I believe this is reminiscent of the fact that in towns like this, everyone cares so much about what everyone else is doing, they’re all so interested in everyone else's business, and i think that sentiment being stated and cut off by the word “Suburbia” is essentially saying that ‘this is the norm, this is just Suburbia, this is how it works around here.’

After the final chorus of this section, in the final verse, you'll find the line “chameleon peacocks are talk of the town” which particularly interests me because if you know anything about chameleons or peacocks you’d find that they seem incredibly different as animals. Chameleons blend into their environment in order to stay safe, whereas peacocks are known for parading around bright colours to make themselves look better, but if you think about it the term “chameleon peacock” actually makes a lot of sense, a person who blends into their surroundings in order to make themselves look good. This sentiment seems to perfectly describe the homogeneity of the people that live in these perfect towns, they're all the same, they blend in with one another in order to make themselves look good, or perfect.

Another line heard shortly afterwards is the phrase “he cums radiation”, rather vulgar, I grant you, but it's important because it is yet another literalisation of the phrase ‘nuclear family’. It could also be a reference to the general toxicity of this societal norm.

The final line in this section of the song is “the dog bites the postman, as basement eyes dream of a night at the drive-in, with an AR-15”. Which is another use of juxtaposition, intended to cause a kind of whiplash in the listener and reinforce the idea that while in this place there is scenarios that would happen in a hollywood movie esque picture perfect neighbourhood, like the dog biting the postman, there's also horrors that lurk below the surface. (although clearly not TOO far below.)

Now let’s move on to the second part, ‘(Vampire) Culture’.

If you listen to the song, you’ll immediately be able to recognise where 'Greetings from The Marybell Township!' ends and ‘(Vampire) Culture’ begins, due to the insane juxtaposition between the two. Where 'Greetings from The Marybell Township!' is soft and sort of reminiscent of the 1950’s, ‘(Vampire) Culture’ is loud, jarring and grotesque, complemented with much raspier and strained sounding vocals compared to 'Greetings from The Marybell Township!' ’s soft and melodic ones. The tone for this section of the song is immediately set with much more graphic lyrics, the very first line of this section (after the opening scream) is “i dropped my eyeballs in the bonfire, we fucked on a bed of nails” which absolutely sets the scene for how different this section will be to the previous.

This song immediately jumps into using cannibalism as a metaphor, with the first line after the jump start opener being “I caught kuru from your sister, and I'm laughing in jail”. While this line is written to sound like the concept of catching an STD from an act of adultery, Kuru is actually a disease only found in human brain tissue, meaning that you can only contract this disease by eating a human brain, and what's one of the symptoms for this disease? Uncontrollable laughter.

This use of cannibalism as a metaphor is used again immediately after in the line “smell those screaming teenage sweetbreads on that 4th of July grill”, ‘sweetbread’ is the term used to refer to the pancreas and thymus gland of an animal, usually a lamb, but in this particular case it is in reference to the human teenagers that supposedly lived in The Marybell Township, or a least they did before they were dissected, cooked and served at a neighbourhood 4th of July barbeque hosted by the same people that were once referred to as their neighbours.

This line adds an interesting level of patriotism to the song and criticism of how America utilises patriotism and their love for their country as means to justify harming the youth, however a 4th of July neighbourhood barbeque is also commonly associated with white picket fence gated community America, which ties us back to the base criticism of that style of life and how it is seen as the “proper” and “perfect” way to live.

These cannibalistic sentiments are followed up with the line “smile and wave boys, kiss the cook, live laugh and love, please pass the pills.” which brings us back to the repeated use of commonly known sayings being taken directly or modified only slightly to remind the listener of the setting were in, that being a seemingly 1950’s era tight knit neighbourhood.

Phrases like “live laugh [and] love” or “kiss the cook” are both phrases that could easily be seen in a setting like this, especially “kiss the cook”, as this is a phrase commonly associated with aprons worn by grillmasters at neighbourhood barbeques, not unlike the cannibalistic 4th of July barbeque that this particular neighbourhood seems to be hosting.

These phrases being immediately followed up with a sentiment such as “please pass the pills” serves to entirely undermine the pleasantries that, until a moment ago, seemed to be plastered all over the faces of the people living in this fictional town that Wood has created. I think that final phrase brings the listener back to the realisation that not all is right here, quite the opposite in fact, and drags them from their momentary paradise.

Circling back very quickly to the phrase “smile and wave”. I felt the need to point out that this phrase has been used for centuries as a way to say “stop talking and act normal” which once again reinforces that these people are pretending to be something they’re not in order to fit in.

We enter the next verse with the repeated phrase “it's only culture”, after that line is repeated three times we hear “sulfur, smoke and soot”, which could either be a reference to how dirty and disgusting the ‘culture’ is, or it could be a different way of saying that this culture and the people participating are going to hell, as per the common phrase ‘fire and brimstone’ and the fact that sulfur is another way of saying brimstone, and smoke and soot are both byproducts of fire.

The last line of this verse and the first line of the chorus blend into each other, so I’ll speak on them both.

First, the last line of the verse. It goes “you cocked and sucked your lack of empathy, pulled the trigger with your foot to prove you've got-”

Putting aside the clear innuendo, this line refers to the idea of ending one's own life with a long shotgun. According to the media, by the time the gun is cocked and the barrel is in your mouth, you're not able to pull the trigger with your hands due to the length of the barrel. This line instead presents the solution of pulling the trigger with your foot to end your life.

So this person “cocked and sucked” the gun (cocked the gun and put the barrel in their mouth) before pulling the trigger with their foot to prove they’ve got-

And here's where the verse blends into the chorus.

Because the first line only consists of one word.

“Blood”.

The person who was shooting themselves with a shotgun only to prove that they bleed. Which is where the title of this section comes in. “(Vampire) Culture”. This section seeks to portray either the people in this culture or, the more likely option, the culture itself, as metaphorical vampires, who aim to destroy those around them. This knowledge makes the next line “didn't they want your blood, so why apologise for being blue and cold” make a lot more sense. After all, if these culture vampires have drained you of your blood, is it not their fault that you’re now “blue and cold”, as bodies tend to be if they lack blood flow. However, if you look at synonyms for the words “blue” and “cold”, you could also interpret this phrase as meaning “sad and apathetic”.

A sad and apathetic person doesn't seem to be the kind of person this ‘culture’ seeks to enlist however, and so one who is “blue and cold” is shunned as an outsider.

What Wood is getting at is that if this culture is the one who made you sad and apathetic, then you should not apologise to it for being so.

The next verse is short, and like the previous one, also blends into the chorus in the same way, by having the last line of the verse cut off right where the chorus would finish the sentence with the word “blood”. However in this verse, there's an interesting line. “It's only culture and it's more afraid of you than you are of it”, which is a sentiment usually used by adults to attempt to subdue a child's fear of something, usually insects. However it's interesting in the fact that it brings up the idea that this culture that has caused so much damage and harm is actually incredibly fragile, and would, in theory be very afraid of the concept of the individual, because if this ‘culture’ is only being held together by the silent agreeance that everyone will simply pretend, then the idea that there is people who refuse throws the whole idea into jeopardy.

This line is followed up however, by the line that blends it into the chorus. “Go on drink that-”, clearly intended to be finished by the first line of the chorus, making the full line, “go on drink that blood”.

This line is in reference to the phrase “drink the kool-aid” which essentially means to pledge your undying loyalty to something, a concept, a person, a god, etc. and it derives from an infamous mass cult suicide where over 900 people drank poisoned Kool-Aid and subsequently died for the cult. It is not a far cry to believe that this event and this phrase is what the line is referring to, as it's something that Wood has referenced in other songs, so it only makes sense to believe that this is what he means here.

After that chorus we move on to the bridge, which begins by listing 3 pairs of names, all famous or semi famous, and each pair being similar in one right but opposite in another, the line goes as follows; “were you Nabokov to a Sallinger, were you Jung to Freud or Dass to a Leary”, so let's break down these pairs one by one.

First “Nabokov to a Sallinger”, these names belong to Vladimir Nabokov and J.D. Sallinger, both authors who wrote famous books that both surround the theme of innocence, but in very different ways. Nabokov’s book “Lolita” is a story told from the perspective of a grown man about his sexual obsession and attraction to a little girl, and his desire to ruin her innocence, exploring the theme of innocence in a grotesque and frankly horrifying way, which is in stark contrast to Sallinger’s book “The Catcher in the Rye”, which explores the topic of innocence through the main characters desire to preserve their little sisters innocence, and in that desire displays hesitancy at the idea of sex themself. Both books explore the topic of innocence, however while one seeks to preserve it, the other seeks to destroy it, two sides of the same coin.

The next pairing is “Jung to Freud”, meaning Carl Gustav Jung and his mentor Sigmund Freud, who once again are similar in one right, but opposite in another. Jung and Freud both had theories on the nature of the human mind, but where Jungs was all about the concept of spirituality and how that ties into the collective unconscious, Freud's approach was much more focused on the individual unconscious and the concept of sexuality.

The final pairing is “Dass to a Leary”. both psychologists, both at the forefront of the ‘Harvard Psilocybin Project’ (before they both got dismissed from harvard entirely following controversies around the project) Richard Alpert and Timothy Leary were both psychologists and eventually authors who studied the effects of psychedelic drugs on the human mind, and while they were co workers they ended up with pretty conflicting views. Dr. Richard Alpert, who apparently ‘died’ and was ‘reborn’ as spiritual guide Ram Dass, centred his teachings heavily around the concept of living in the moment, (in fact his best selling book, written in 1971 was titled ‘Be Here Now’) and he believed that psychedelic drugs were not needed and that a permanent version of the same effects could be achieved through meditation. Whereas Dr. Timothy Leary advocated heavily for the use of psychedelics, believing that LSD specifically had great potential for therapeutic psychiatric use.

All of these pairings and examples utilise the concept of duality and speak on how every coin has two sides, which can easily be tied back to the idea that the picture perfect suburban life is just one side of the coin. This idea is then reinforced by the next line, “were you mother, daughter, subject and author?”, The use of the word ‘and’ here shows that it's possible to be two sides of the same coin at once, just like how this town, which is perfect on one side of the coin, is still terrible on the other side of the coin. The line is stating that it's possible to be both at once.

The very last line in this section is; “you don't make the rules, you just write them down and do it by the book you throw around”. This line combines a few relatively well known phrases. The first being of course ‘i don’t make the rules’, which can have two distinct meanings. The first is to express a kind of sympathy for someone being punished, and the second is to absolve yourself of the blame for that person being punished, a sort of ‘don't shoot the messenger’ situation.

The ‘rules’ that are likely being referred to here are the societal norms and expectations forced upon people who reside in these towns, the standard for ‘perfection’.

However, following this sentiment up with the phrase “you just write them down” is essentially saying that while it's not the fault of the people in these towns, they didn't create the norms, they still enforce them. They expect everything to be in line and perfect at all times, they follow these ‘rules’ to a T, and they shun and punish anyone who doesn't fit the standard and/or refuses to follow these ‘rules’, which is where the line “do it by the book you throw around” comes in, doing something ‘by the book’ means to follow rules strictly and to the letter, nothing out of line, and to throw the book at someone means to punish them as severely as possible, usually used in the legal sense to mean punishing someone for their crime as severely as the law will allow. So in all, the lyric “you don't make the rules, you just write them down and do it by the book you throw around” ends up meaning ‘you didn't create these norms but you still enforce them by following them to an absolute T and punishing anyone who doesn't.’

With that we enter the third and final section of the song, entitled ‘Love Me, Normally’, a title it shares with another song on the album, but of course this song is partially meant to serve as an overture for the whole album, meaning it shares some similar lyrics with lyrics from other songs on the album, so sharing a title isn't all that surprising.

The first lyric in this section is “do you know the difference between blazing trails and slash and burn?” which is another instance of duality in this song. Trailblazing or being a trailblazer means doing something no one has done before, paving the way for other people to follow in your footsteps, it comes from the literal act of creating a trail in the woods for people to follow, usually by creating notches in trees or setting small fires, hence ‘blazer’, as blaze is another word for a fire. However “slash and burn” is a method of deforestation that involves cutting down and burning a section of forest to create a field. Both examples include using fire to change something, but where one is seen as progress and positive, the other is negative, and seen as a means of destruction. Once again, two sides of the same coin, innovation and destruction.

This is followed up with the line “going against the grain and catching splinters”, which is a line i particularly like because while it is something that literally can happen, if you run your hand along wood in the opposite direction to the grain, you're more likely to get a splinter because you're essentially pushing your hand against the chips of wood, but it also is another metaphor for the dangers of not being the same. Going against the grain in this instance means daring to be different, not going the same way everyone else is going but instead the opposite of that, and in this example splinters are the consequences one would face for being different, especially in a setting like this perfect town, where everyone is the exact same as everyone else.

A little bit later you hear the line “well Lot he had his lot in life, Job his job and i guess you’ll too, and die”.

Lot and Job are both figures found in the Bible, whose names both share spelling with common English words, but are pronounced slightly differently.

Job, from the Book of Job, was a man that was tested by God, made to suffer to test his loyalty, his ‘job’ was to believe unendingly in God and see Him as always correct no matter what.

Lot, from the Book of Genesis, was a man who went through a lot, and the phrase ‘my lot in life’ is a phrase commonly used by people to write off/explain why they don't have it as good as others, they say it's simply their ‘lot in life’.

The end of this line “i guess you’ll too, and die” i believe refers to the fact that everyone will have their own job and their own lot in life, and then everyone in the end will die.

This theory is solidified by the fact that the next line is “The Lord looked down and said ‘hey, you're only mortal’” which is a play off of the phrase ‘you're only human’. Wood himself said that the phrase ‘you're only human’ has always felt weird to him, he says, “cause like, of course I am, aren’t we all? How is that fact supposed to help? I still feel bad. What does being human mean to you?”. He follows this up by saying that the idea of God saying "hey, you're only mortal" offers the same kind of sentiment, but in a “cosmically condescending” sort of way.

The following line reads “giveth and taketh away, till things come out a certain way, leave you wondering when they might go back to normal… leave you wondering why they can't have just been normal”.

This line presents a sort of hopelessness in the realisation that things are constantly changing, nothing is any more ‘normal’ than anything else, there's no such thing as ‘normal’, which is an overarching theme found throughout the album. Once again bringing back the fact that for all intents and purposes this song is an overture for the rest of the album.

To conclude, ‘Suburbia Overture’ is, in my opinion, one of the greatest criticisms of suburban, middle class, gated community, nuclear family life i've ever seen, it highlights the problems in that life and showcases how this kind of lifestyle in its incredibly rigid and restrictive standards is incredibly harmful to the very concept of individuality, because the expectations and unspoken rules set in communities like this and the widespread idea of forced normality seeks to crush any individuality before it even has a chance to blossom.

The use of metaphors and phrases that are well known and are likely to be seen in settings such as this gated community suburban town that Wood has created really paint a subconscious picture of what this community looks like, the use of duality, how every story has another side, and how nothing that is seemingly perfect from the outside is actually perfect on the inside.

Will Wood is an incredible lyricist and the fact that he was able to cram so much symbolism and such a powerful message into a song just over 6 minutes long is genuinely incredible.

Thank you for listening to my/reading my autistic hyper fixated rambling, i hope i didn't melt your brain too badly <3

[tenyrasims]

𝑽𝒆𝒚𝒍𝒆𝒏 ~ ─── ⋆⋅☆⋅⋆ ──

Cas time 🎶 ~ So ... in the meantime while i was away i decided to push the things im working on a bit further and I demolished Evergreen harbor and forgotten hollow. Made them to post-apocalyptic worlds where the citys got destroyed by creatures like Zombies, Vampires etc. Just very few humans survived, now living in communes or in small groups, trying to survive. There are also head&monster hunter who get paid for things like getting supplies, clean up areas or even kill people. Veylen is one of the Characters in this world, beside my latest Sims i made [Ash and also Selene]. Hes a solo guy who offers people in communes to do certain jobs for money or other things to survive ~ Hes a good figther and beside the most humans tend to use guns he thinks its more fun to use his scythe. The next characters i will create will be all for this world. okay, enough essay for today ♥

─── ⋆⋅☆⋅⋆ ── Thanks to all awesome cc creators ♥ Hair by @thekunstwollen Nose Piercing by @maximoons - eyebrow piercing by @magic-bot Tattoo by @unidentifiedsim

Leather Jacket by @gorillax3-cc Jeans&Boots by @darte77 [Paid content] Lip scar - by @nell-le

Necklace - Eyes & earrings by @pralinesims Ring by @sclub-privee

Scythe by @nataliaauditore-blog animation & poses for the scythe by me ─── ⋆⋅☆⋅⋆ ──

[missholloween]

The Stakes arc was very influenced by tarot, more specifically the major arcana. The Vampire King minions take their name after different cards, such as the Empress, the Hierophant, the Fool and the Moon. If you're interested in this lecture I recommend you this video essay on yt that goes in depth on the topic.

In episode 7 of Fionna and Cake we see a new Marceline, a Marcy that has been raised by the VK instead of Simon. And in this universe, she's the Star.

In tarot, the Star is related to renewal, to hope after hardship.

In a universe in which she never met Simon, where she was a lonely kid in a post-apocalyptic world, the VK took her under his wing and adopted her. He gave her the opportunity to not only have a life, but to have a family. They seemed really close, with Marcy talking lovingly about him and the VK running to help her when she was fighting Bonnie.

However, the Star reverse symbolizes lost of faith, giving up, disconnection.

In a world in which she had to be on her own on her childhood, Marceline has no connection to other's life. She kills as she pleases, and doesn't care about who lives or dies. She lacks empathy. The only person she seems to care about is Bonnie, but she seems to see her as something of a toy.

Her hairstyle, short, doesn't reach her shoulders, reminds us of her childhood. This Marcy doesn't seem to have grown up, not truly at least. She's capricious, childish, more bratty than what we're used to. She has not progressed, stagnant as the rest of the vampires.

[alpaca-clouds]

Hayao Miyazaki & Solarpunk

Hayao Miyazaki probably never planned to become this super influential voice for Solarpunk. He did become it though. In fact a lot of his movies are considered to be Solarpunk to some degree, which in a way does make a lot of sense. After all, not only does he generally feature stories about preserving the environment, and stories that are very much anti-war and often also anti-capitalist, but - and I think this is something often ignores - he also is heavily influenced by indigenous Japanese storytelling. There are very few creatives in Japan that outright reference the indigenous cultures of Japan - but Hayao Miyazaki is one of them.

The strongest Solarpunk vibes in his movies can obviously be found with Nausicaä, and with Princess Mononoke. One a post-apocalyptic movie, the other one a historical fantasy piece, which makes this entire thing even more interesting. Laputa, too, is often seen as Solarpunk - a story that is pretty much high fantasy with some scifi elements. And I would argue that you still very much can find Solarpunk themes in both Spirited Away and My Neighbour Totoro.

Not one of those movies is SciFi. And I very much find this worthy of discussing, because I think it is one of those aspects where a lot of people who would like to write something more Solarpunk could learn from.

One point that cannot be ignored is of course that Miyazaki aside from traditional and indigenous Japanese storytelling also drew heavy influence from Ursula K. LeGuin in some of his works - who also is one of the big influences on Solarpunk. And yes, there might be some essay of mine about LeGuin coming some day in the future - but not too soon.

From the very beginning of Studio Ghibli at least, Miyazaki's movies always had a heavy emphasis on some themes. These included feminism (by showing both women who can fight, and the importance of care work done by women), anti-war and pacifism, and environmentalism.

It should be noted that very much no Miyazaki movie is set in an utopia. Instead the movies are concerned with the idea of finding solutions for the characters - and with the characters empowering themselves.

Nausicaä and Princess Mononoke might be the clearest examples here. In both movies the protagonists take the role of creating peace between nature and those, trying to destroy it. However this ending is never quite a compromise, rather than the destroyers seeing that they are doing wrong and promising to do better. Which is another core thing that is there in most of Miyazaki's movies: They show a big hope for humanity and its ability to be good. Only rarely are we shown irredeemable villains in those movies - most of the times just people blinded by their lust for money and power. Or, at times, there is simply the problem that the two different sides can literally not understand each other.

This is a theme that gets explored again and again. How so many conflicts are rooted in the different sides not communicating - or at times literally being unable to communicate. With the protagonists being the ones who will be able to listen and understand.

The other aspect is that the protagonist in Miyazaki's movies also will empower themselves, while the antagonists do try and depower them. The protagonists have their own wishes and believes and stay true to them. They will also manage to succeed by befriending other people they meet along their way, by meeting them without any prejudice in many cases. Be it Ashitaka, who meets both the gods and the people of Iron Town without hatred, or be it Chihiro, who manages to befriend almost everyone she meets along her way.

The important aspect is, that the movies here offer a hopeful outlook and also show the importance of helping each other and banding up against a greater evil. In fact they do show a heavy emphasis on Mutual Aid in some interesting ways.

Here is the thing: Yes, I really want to see more Solarpunk fiction that is set in possible, but really positive Solarpunk worlds that dare to imagine anarchist and communist worlds. But we absolutely need these kinds of stories. Stories that are about the fight for the environment, for a better word. Stories in which the characters do offer mutual aid to others, work together and find understanding. And stories in which there can be hope found.

And I think we just need to give this more of a chance - and talk more about it.