#society and culture AS a character that is able to influence the plot

[coffee-counts-as-a-meal]

not to be a GoT/ASoIaF meta writer but I'm re-watching the first season and re-reading A Clash of Kings and its occurring to me something something patriarchy something something society but anyway its just really interesting to me how Catelyn (and also Sansa at the beginning) are very good at working within the rules and social mores of their society

of course, we see examples of women who struggle to fit within the rigid definition of "womanhood" that Westeros demands (Arya, Brienne, even Cersei to an extent) whereas Catelyn and Sansa, while clearly finding the limits within their roles (thinking about Catelyn's "I did my duty all my life" monologue), still manage to perform and excel in it. And idk where I'm going with this but I think it's really interesting how Catelyn and Sansa get a lot of hate thrown at them, when in reality it's less about them as people and more about the society that is pointing at them and saying "performing womanhood like Catelyn and Sansa is the only acceptable way"

Arya and Brienne actively rebel against a world that is telling them to be one thing when internally they'd rather be something else. Sansa and Catelyn don't feel the same discomfort, it's easier for them to "fit in", and they do benefit but it's not a character fault.

[queenrizzardnthelizardscissored]

VEILGUARD SPOILERS DO NOT READ IF YOU DONT WANT TO BE SPOILED

holy shit this ending is COMICALLY BAD. WHAT THE FUCK DID THEY DO. this is worse than 'it was all a dream'.

turns out there is a race from across the sea called the 'executors' who are behind LITERALLY EVERYTHING from loghains betrayal to meredith going crazy to bartrand digging up the red lyrium to anders blowing up the chantry to the events of inquisition because they are able to influence people without being there or seeing it. everything about the previous 3 games has been planned by them. NONE of the characters had any agency at all.

every. single. plot decision.

was just mind control the WHOLE FUCKING TIME.

oh also mythal is andraste and turns out the whole religion was bullshit from the get-go. not like. yknow. the mystery of that and the role that religion played in society was more important than the gods stuff. like holy shit. the good part of dragon age worldbuilding was cultural beliefs and the way they influence society, and ultimately magic is just an element of the society that is hotly debated, gods are things that some people believe in, others do not, with statues and churches and multiple religions. and now its just like "every religion was horseshit, and the gods did exist but they were evil, and the actual cultural context of this religion didn't matter." like the valasslin as slave-markings stuff was really interesting to me because of the cultural connotations, how they changed from slave-markings to symbols of a people over time through reclamation and simple loss of rembrance, how they evolved, and then how Solas can only see their initial meaning without understnading that their cultural meanings and connotations have shifted. but no. no. we can't have subtlety in our storytelling. that's too hard.

how the fuck did they screw this up.

some ppl are saying this was the plan all along? can you imagine them writing loghain in DAO, anders and merrill in DA2 while just knowing 'oh yeah btw they actually didnt want to do any of this they were all mind controlled the whole time'? despite giving them actual motivations?

holy shit they fucked this up big time.

[thewriteadviceforwriters]

Gothic Fiction: How to Create the Perfect Dark Atmosphere

Are you a writer looking to create a dark, mysterious atmosphere in your novel? Gothic fiction is the perfect genre for you! Gothic fiction has been around since the late 1700s and continues to be popular today. Through cleverly crafted characters, settings, and plots, writers of gothic fiction have been able to create an atmosphere of fear and suspense that keeps readers coming back for more. In this blog post, we will explore the elements of gothic fiction and how to use them to create the perfect dark atmosphere in your novel.

Understanding the Gothic Genre

Gothic fiction is a literary genre that emerged during the Victorian era and is characterized by dark, mysterious, and supernatural themes. It often explores human fears and the unknown, and its stories are known for their eerie, haunting atmospheres. To create compelling Gothic fiction, it is essential to understand the genre's history and conventions. Victorian Gothic literature was characterized by dark and macabre themes, such as ghosts, madness, and supernatural phenomena. The genre also often focused on hidden secrets, dangerous desires, and sinister characters with troubled pasts.

To write a successful Gothic story, one must embrace these elements and incorporate them into their plot, characters, and setting. Additionally, the use of symbolism and the exploration of psychological themes can further deepen the Gothic atmosphere and create a sense of unease and foreboding.

Furthermore, understanding the influence of Gothic literature on popular culture and modern horror can help to inform one's writing. From Edgar Allan Poe to Stephen King, the Gothic genre has left a lasting impact on literature and film.

In short, Gothic fiction is a genre that thrives on darkness, suspense, and the unknown. To create a compelling Gothic story, one must embrace the genre's history and conventions, while also incorporating fresh and original elements that will keep readers engaged and on the edge of their seats.

Crafting Characters with a Dark Past

One of the most important elements of Gothic fiction is the characters. They are the heart and soul of the story, and it is through their actions and motivations that the plot unfolds. In Gothic fiction, characters with a dark past are often at the forefront of the narrative, bringing a sense of depth and complexity to the story. When crafting characters for your Gothic fiction, think about their past experiences. What has shaped them into the people they are today? Have they suffered trauma or experienced loss? Do they carry secrets that haunt them?

It's important to remember that Gothic fiction often focuses on characters who are outsiders, isolated and lonely. They may be ostracized by society or feel a sense of alienation from the world around them. Think about how this isolation affects their behavior and relationships with others.

To create truly compelling characters, give them conflicting desires and motivations. Perhaps they long for redemption or seek revenge. Or maybe they are driven by a sense of duty or honor. By creating characters with complex inner lives, you will give readers a reason to care about what happens to them.

Remember, characters with a dark past are often flawed and imperfect. This is what makes them interesting and relatable to readers. By embracing their imperfections, you will create characters that feel authentic and fully-realized.

Setting the Scene: Creating a Dark and Haunting Atmosphere

In Gothic fiction, the atmosphere is everything. The reader must be transported to a world that is both familiar and strange, one that is steeped in darkness, mystery, and danger. Creating a gothic atmosphere requires a careful balance of sensory details, emotions, and setting. Here are a few tips to help you craft a haunting atmosphere that will captivate your readers:

First, use vivid and evocative language to paint a picture of the setting. The weather should be bleak and oppressive, the architecture should be old and decrepit, and the natural world should be ominous and foreboding.

Next, focus on the sensory details. Use sound, scent, and touch to bring your setting to life. A rustling in the shadows, the musty smell of an old library, and the feel of cobwebs on skin can all help to create a sense of unease.

Additionally, make sure your characters are affected by the atmosphere. They should feel as though they are surrounded by something dark and unsettling, and their reactions should reflect that. Fear, suspicion, and paranoia can all help to create tension and build suspense.

Finally, don't forget to use the power of suggestion. Leave some things to the reader's imagination, allowing them to fill in the gaps with their own fears and anxieties. By creating a haunting atmosphere, you can draw your reader deeper into the story and keep them on the edge of their seat until the very end.

Elements of Suspense and Horror in Gothic Fiction

Gothic fiction is all about creating an atmosphere of suspense and horror. As a writer of gothic fiction, you need to master the art of weaving elements of suspense and horror into your story. Without these elements, your gothic tale would fall flat. Here are some key elements of suspense and horror to consider when crafting your gothic story.

One of the key elements of suspense is the slow build-up of tension. You can achieve this by setting the scene in a creepy location, using descriptive language to create an ominous atmosphere, and gradually revealing more and more about the dark secrets that lurk within the story. It's important to remember that gothic fiction is all about the slow burn, so don't rush the reveal of your twist or reveal too much too soon.

When it comes to horror, there are a number of classic elements that can be used to great effect in gothic fiction. These include supernatural entities such as ghosts, witches, and demons, as well as more mundane threats such as murderers and monsters. Use your imagination to create terrifying scenarios and moments of heart-stopping suspense.

Another important aspect of horror in gothic fiction is the use of gore and violence. This can be tricky to get right, as too much blood and guts can quickly become gratuitous and off-putting. Instead, focus on creating scenes that are disturbing and unsettling, without going too far. By mastering the elements of suspense and horror, you can create a truly spine-tingling gothic tale that will leave your readers on the edge of their seats. So take your time, build the tension, and let your imagination run wild.

Adding a Touch of the Supernatural in Gothic Fiction

One of the defining features of Gothic fiction is its penchant for the supernatural. Ghosts, demons, and other spooky beings abound in Gothic literature, and writers looking to craft their own Gothic tale would be wise to incorporate some elements of the supernatural into their work.

When adding supernatural elements to your Gothic fiction, it's important to strike a balance between the fantastical and the believable. You want to create an atmosphere that's spooky and otherworldly, but you also want your readers to be invested in your story and your characters.

One effective way to add supernatural elements is to make them subtle. For example, a haunted house with creaky floorboards and mysterious whispers is more effective than a house where the furniture moves on its own and the walls bleed. Similarly, a character who sees ghosts in their dreams is more believable than one who can communicate with spirits at will.

It's also important to remember that supernatural elements should serve the story, rather than overshadowing it. The supernatural should add to the overall atmosphere of your story and contribute to the development of your characters.

By incorporating just the right amount of supernatural elements into your Gothic fiction, you can create a story that's both haunting and captivating.

Tips for Writing Engaging Dialogue in Gothic Fiction

Dialogue is a crucial element in any form of fiction, including gothic literature. It is the perfect way to reveal character traits, add depth to the plot, and create a more immersive experience for the reader. However, writing engaging dialogue that captures the essence of the gothic genre can be quite challenging. Here are some tips to help you write gothic dialogue that hooks your readers:

Use language that suits the period and setting. Research the language and mannerisms of the era in which your story is set, and incorporate them into your characters' dialogue.

Don't reveal everything at once. Allow your characters to be enigmatic and mysterious. Use subtle hints and innuendos to add an element of mystery and suspense.

Give each character a distinct voice. Make sure your characters have their own unique speaking styles and dialects. This will help them stand out and feel like real individuals.

Use dialogue to convey emotion and build tension. Show your characters' fear, anger, and sadness through their words, and use dialogue to create conflict and tension.

Avoid overly formal language. While it is important to stay true to the era, make sure your dialogue doesn't feel stilted or awkward. Strive for a balance between authenticity and readability. By following these tips, you can create dialogue that enhances the atmosphere and tone of your gothic fiction, and keeps your readers engaged until the very end.

Common Tropes and Themes in Gothic Fiction

Gothic fiction is known for its distinctive themes and tropes. Some of these elements have been present in the genre since its inception, while others have evolved over time. Understanding these themes and tropes is essential if you want to write compelling Gothic fiction. One of the most recognizable themes in Gothic fiction is the exploration of the supernatural. Gothic literature often includes ghosts, witches, demons, and other supernatural elements. These elements add an extra layer of horror and suspense to the story, as readers are left wondering whether the events in the story are the result of natural or supernatural causes.

Another common trope in Gothic fiction is the use of a haunted or decaying setting. The setting can be a character in its own right, evoking feelings of fear and unease in the reader. Abandoned castles, dark forests, and desolate landscapes all serve to create a sense of dread and foreboding in the reader.

Other common themes in Gothic fiction include madness, death, and decay. Characters in Gothic literature often grapple with their own mortality or the loss of loved ones, while others descend into madness or despair. These themes are central to many Gothic tales, providing a dark and haunting backdrop for the story. By understanding these tropes and themes, you can craft a compelling and engaging piece of Gothic fiction. Whether you're exploring the supernatural or exploring themes of madness and decay, Gothic fiction offers endless possibilities for writers looking to create a dark and haunting world.

[chitoseyo]

Me: it would be so hot if shouhei wrapped his big heavy chains around his knuckles to beat the shit out of somebody omg… i should make a barebones little fic just so I can write this scene with some paper thin plot

Me still mapping out that silly little fic a couple months later: and what if it explores the socioeconomic implications of japan being able to bounce back immediately after the war and dominate global economics and how that would impact America and how the Cold War would play out differently based on America being in a more desperate place and the way the world would change if the axis powers came out of the war mostly scot-free thanks to the slate? what if it did more with the cheeky little suggestions the show made to unit 731? and what if it played more with how the cia or nkvd would react to weissman’s experiements with the slate? and what if it leaned further into S4 being a corrupt organization that violates the human rights of defendants in their custody as opposed to just using that as a throw-away joke every once in a while, while shying away from actually making them morally complicated? and what if homra maintained that same brutal seedy gang vibe that they gave off in that one scene where yata burns that guy’s forehead with his own gun instead of writing them as friendly neighborhood watchmen bishonen softies? and what if it explored the way america’s crass cultural influence still seeped into Japan and how that would ruffle up or titillate the collectivist nationalistic countrymen and we looked into how these characters would react to cultural osmosis bringing America’s festivities like Halloween mischief night or big boisterous calendar new year parties into the more cosmopolitan Tokyo? and what if homra were written more clearly as the heroes of the story or at least were made more sympathetic if each of the gang members were outcasted by society for being unable to (or bravely refusing to) follow oppressive societal norms or expectations? and what if kagutsu was maybe a radical protester who had some motivations that made sense and part of mikoto’s descent into despair and cynicism was based on him starting to empathize with his predecessor and he was afraid to acknowledge that he thought kagutsu made some points so he just shut down emotionally to avoid thinking about it? and what if it showed a little more of the writers’ declaration that maybe totsuka was not a great person? and what if it explored how civilians are propagandized into rooting for S4 or believing it to be a noble organization? and what if it dove into the headspace of the servicemen who may feel disillusionment or doubts but have to conform out of fear or out of genuine belief that it is what’s best for the country? and what if characters like aya or saya or the shopkeeper or the unnamed girl from shohei’s intro chapter were fleshed out characters with human emotions and personalities instead of existing to just be plot devices? and what if I accidentally made Pinterest boards and rebooted character profiles and intricate timeline outlines for this whole story

[dailycharacteroption]

Roleplaying Races 16: Finale

So… that’s it. No more officially published ancestries for First Edition Pathfinder for me to examine. It’s kinda weird seeing it come to an end, we’ve been doing this so long that the title of the special even uses the older term that was replaced by “Ancestry” when Second Edition rolled around. I figured I shouldn’t change it for recognizability sake, but tried to use the modern terminology as much as possible in the body of these entries and others (or species in the Starfinder equivalent).

The term “ancestry” feels a little… inadequate to describe what they entail, but I understand that it’s a loaded word that not everyone is cool with, so it was a good change.

Moving past that little tangent though, the idea of playing various non-human ancestries goes all the way back to the First Edition of the World’s Oldest Roleplaying game, which isn’t surprising. D&D was, after all, heavily influenced by the works of Tolkien and other fantasy authors, so having non-human beings be a major part of the plot and bringing their differences in both biology and culture to the adventure only made sense.

However, D&D 1E also brought with it a lot of Gygax’s other inspirations and beliefs into it, particularly his bioessentialism, with such things as limiting certain classes to certain ancestries, as well many “enemy” ancestries like orcs and goblins being “inherently evil”.

Now, obviously things loosened up over the years and changing of editions, with classes opening up to any with the aptitude, but the damage had been done with the culture those early years had created. Newer players have no idea of the backlash that allowing half-orcs to be playable characters had in certain areas of the hobby, and even with classes open to everyone, the ancestral ability bonuses and many of the traits of each species continued to feed into the mindset that certain ancestries were only good for certain jobs, and that those that defied that expectation either straight up didn’t exist or were strange deviants. A real planet of the hats situation where almost every half-orc was a barbarian, elves were either wizards or rangers, dwarves were either fighters of clerics, and so on.

But… Times change, franchises change hands and new people whose voices were overshadowed before get creative control. D&D wasn’t just a game for white male nerds who wielded memorized Star Wars trivia the way stereotypical jocks do their win/loss record. No, It was a game for all sorts of people who wanted a form of escapism. Women, PoC, Queer folks too, even if they had to put up with some real shit from the rest of the fandom sometimes. And slowly as society and the game changed, they brought their perspectives. It’s been slow-going, but progress has been good, not just in D&D, but other RPGs and Pathfinder as well.

So we don’t call them races anymore, and both editions of Pathfinder, but especially 2E do their best to make ancestral traits and feats a celebration of their physiology and culture rather than a way to pigeonhole them into certain roles. Orcs and goblins have gone from being inherently evil monsters to cultures very different from the human… well I hesitate to say standard… which sometimes brings them into conflict with other cultures, with specific individuals and gods being the cause of evil antagonistic groups first and foremost.

Culture is constantly evolving, and with it, the fiction and games that hold a mirror to it, and despite many oppositional forces, right now it’s on track to keep changing for the better. We’ve come a long way from a thousand and one Frodo, Gimli, and Legolas clones, and while terms may change, I’m still so very delighted to be able to play a game where playing a non-human entity is a possibility and a chance to explore what that means rather than stick to a stereotype. But then maybe that’s just the therian in me.

In any case, I’ve paraphrased a lot of TTRPG history and how it relates to ancestries and similar playable options across systems and the people who play the games, and I hope it made even a little sense. More than that, I hope you’ll continue to join me in the stories that we craft together with these characters.

[wardenparker]

I'm excited for this AMA because it finally gives me an excuse to finally ask about the world building that has gone into all of yours and @absurdthirst's Soulmate Sundays. Do all or some of these stories (excluding the Viper's Bride of course) take place in the same universe or are they all taking place in separate universes?

I ask because I've been low-key obsessed with the societal, cultural, and legal norms y'all have introduced into Hummingbird Has Landed and the implications of those 2016 norms would mean for their historical development. Things like Marcus's divorce from his wife when she found her soulmate - while devastating for Marcus - seems like a common experience in that world and suggests that no-fault divorce must have existed at a much early time in their universe compared to ours. Or the prejudice against non-soulmates marrying - assuming the statistical likelihood of soulmates being born in the same region has not changed over time, then the prejudice against non-soulmate relationships should be relatively new, developing over the past 100 years as the likelihood of finding your soulmate increased due to modern transportation, telecommunication, and living patterns.

Which brings me back to my question about this being a shared universe. We've seen hints of some of this world building in your other Soulmate stories, like Marks Match and Pero being guaranteed a green card because he's Sassenach's soulmate. But the societal reaction we see to non-soulmate relationships feels far more intense in Hummingbird (i.e. venues refusing to host non-soulmate weddings, Birdie's whole "freedom of affection" stance). I mean, clearly the reactions to non-soulmates marrying is a metaphor or at least influenced by how the legalization of same-sex marriage played out in American society in the mid-2010s. But we didn't get glimpses/hints of that "culture war" in your stories set (at least in part) in the 2020s. Is that because these stories are set in separate universes? Or is it because Hummingbird is, for all intents and purposes, a historical AU that deals with issues that are no longer viewed as issues to the vast majority of Americans in the 2020s, like (most of) Vampire Waltz?

(And yes, I am absolutely horrified at myself for calling a fic set in 2016 a historical AU, but here we are. 😅)

This is such a wonderfully in depth question and ever so much more than I thought we might get today! Thank you so much for reading and I hope we're able to do this answer justice in any small way.

Starting at the beginning -- we have always viewed these stories as taking place in the same universe. To us, The Viper's Bride with Oberyn is sort of the "ancient world" version of this universe and potentially stories with Din or Ezra might be the future. That will depend on whatever plots we choose for those stories.

Hummingbird Has Landed deals with more politics purely because we made the reader the First Daughter. We leaned into it not to make a political stance, but to have a story that was both relevant to our interests and fun to tell. I'm going to be honest, dear -- it was something I pushed because I grew up watching things like The American President and The West Wing. And @absurdthirst, like the wonderful enabler she is, agreed.

I won't say that a parallel between the relationships of non-soulmates and any likeness to the LGBTQ+ community was intentional, but...read queer writers and get queer prizes. If the metaphor works for you and gives you a depth of understanding for the situations these characters find themselves in? Then awesome!

Stories set in the 2020s (for instance, Vampire Waltz with Max Phillips) didn't have a plot that centered around those cultural topics, so they weren't featured. But we definitely have dealt with the pervasive preference toward soulmate relationships multiple times. The very existence of Mate Marks as far back as Frankie's story The Alewife is evidence of that. We've mentioned legislation that gives soulmate couples preferential treatment, and the existence of chapels for quick and easy soulmate marriages.

Call it an expanding universe, if you will. With every story, the mythology and the world building gets a little bit deeper. Just as it should be!

[theredpharaoah]

The issue with trying to construct shows where no form of oppression exists, is that the people creating it come from oppressed societies and don’t adequately check themselves. Like Jaha becoming a villain made sense, but Pike not being able to see the Grounders were ppl just like him didn’t. When we’re introduced to Pike he’s characterized as compassionate and kinda father-figure like. And even people like Miller, Jackson, Indra, and Gaia - moreso used as tools for other characters’ development as opposed to their own. Wells is literally the “black guy always dies first” trope. And even Lincoln’s character has some uncomfortable stuff going on. It’s not purposeful or consciously done - it’s designed so it doesn’t have to be. We don’t have a main character who’s black, of color, or indigenous that has actual development and is a major part of the plot. Monty didn’t really develop at all - neither did Gaia. Indra didn’t really develop, so much as she considered Skaikru family and opened herself up to them. And the death of cultures was so sad - why did all the stations on the Ark settle on English? They had nothing but time - they should’ve learned every language they could. The erasure of all the religions - it would’ve been cool to see how Grounder clans incorporated Becca and the Nightbloods into their religions. Maybe they saw Becca and the Commanders as Maitreya, Kalki, Jesus, etc. You’ve got to remember that’s it’s only been 100 years since the bombs went off. Which happened in like 2030(lol, how bleak). There’s no way all of that just disappears. The culture of the militant Ark is one thing, but the Grounder cultures should’ve retained a lot more. Also, no hijabis, no other languages(Latin and trig doesn’t count), etc. The Commander’s Regalia clearly has Indian influences, but that’s about it. There’s a lot of “eastern” influences in Polis and Grounder culture but nothing concrete. If they’d done the prequel, the second commander being Indian- and so they introduced those parts of the Commander’s Regalia - would’ve been so cool. But I also thought it was dumb that Calliope wasn’t the second commander. Jason essentially tried to recreate the mid season 2 Clarke/Lexa dynamic with Becca and Calliope. As a way to legitimize not giving Clarke the flame, but all it did was make me think that both Calliope and Clarke should’ve gotten the flame. They were clearly being implied as heirs to their respective mentors. Honestly, Lexa should’ve taken Clarke as her second. That could’ve been a really easy way to incorporate her and Skaikru into Grounder culture. Like the usual things people do in alliances were just ignored here. Lexa should’ve commanded a person from each of the 12 clans to come to Polis and take a second - maybe even have several do it. If she didn’t want to weaken Clarke’s position by having her serve Lexa - Luna was an option. Octavia’s training was over. Roan could’ve trained Bellamy(We DESERVED bi Bellamy) or Monty, Miller, Harper, Raven, Murphy, or Jasper(WE DESERVED Monsper but I’m thinking Monty and Roan could’ve been cute too). Like Raven and Murphy having to enter the Order of the Flame under Titus? Having Abby and Jackson create a “school”/safe zone of Mt. Weather where they trained Grounder healers to be doctors. That too. They didn’t leverage their medical/technological superiority NEARLY enough. Like Sinclair and Raven could’ve showed them how to turn the heaters in Polis on or something. No political marriages either. I feel like Jason got so into the sci-fi, he kinda forgot what I felt like really pulled a lot of people into the 100 - that Lord of The Flies, Animal Farm appeal with a sci-fi twist. I loved the politics and strategy of the 100 in a post-apocalyptic sci-fi setting. He didn’t balance it well and he veered way too far into Sci-fi. And also, a lot of the characterization and depth we got in the first 2 seasons was lost. You really need to see Characters doing meaningless things that don’t always push the plot - some filler is good!

[ervinafindy]

Denny Ja: Combining local wisdom with international standards in literary works

Denny Ja, a famous Indonesian writer, has long been known as one of the writers who is able to combine local wisdom with international standards in his work. Denny's works have always been a conversation among the people of Indonesia because it raises complex local issues in an intelligent and interesting way. One of Denny JA's works that was most appreciated was the novel "Menara". This novel won the Kusala Literature Equator in 2001. This novel is described as a complex literary work, with a unique and sophisticated narrative structure. The novel "Menara" raises important issues such as environmental policies, corruption, and social justice. In this novel, Denny managed to bring the reader to follow the journey of a young man named Ali Akbar, who tried to fight for his rights as a citizen and improve the fate of his poor family. Not only that, Denny also managed to describe complex and stunning characters in this novel. Denny shows his ability to refer to local wisdom in building strong and interesting characters. In addition to the novel "Menara", Denny also wrote various other works that were successful in combining local wisdom with international standards. An example is a collection of short stories "from the future". This collection of short stories raises important social problems in Indonesian society, such as poverty, injustice, and the environment. At the same time, Denny managed to build interesting and unique stories, with complex plots and stunning characters. Denny was able to bring the reader to absorb the daily lives of Indonesian people, while combining international standard literary elements to create a complete and comprehensive work. Combining local wisdom with international standards in literary works is a challenge for many writers. However, Denny JA shows that this might indeed be done. Denny was able to bring a distinctive and unique local wisdom from Indonesian people into his literary work, while still respecting the uniqueness and cultural diversity that exists in the international world. Denny JA's literary work is an inspiration for many Indonesian writers who try to achieve stability between local wisdom and international standards in their works. One example of a writer inspired by Denny's work is Eka Kurniawan. Eka Kurniawan, a famous Indonesian writer who also won the Kusala Literature Award, acknowledged that Denny Ja was one of the biggest Indonesian writers that influenced his work. Through Denny Ja's works, we can understand how important it is to respect local wisdom in literary works. Local wisdom is not only in the form of typical stories or unique traditions that exist in a place, but also has become a part of the daily lives of the people in that place. Denny Ja shows that respecting local wisdom does not have to make literary works biased and does not meet international standards, but on the contrary: referring to local wisdom can produce stronger and more authentic works. Overall, Denny Ja is one of Indonesia's biggest poets and writers today. His work combines local wisdom with international standards, creating strong, complex and relevant works. We can all be taught by Denny's success in achieving this unique balance, and can also use it as an inspiration in creating literary works where local wisdom values are maintained authenticly, while still meeting international standards.

Check more: Denny JA: Combining local wisdom with international standards in literary works

[blogkarisman]

Contemplating Denny Ja’s chosen work 29: Little tuth with full taste

In the world of Indonesian literature, the name Denny Ja is familiar. As one of the famous authors, Denny JA has scored many works that inspire and motivate many people. One of his chosen works that we want to explore is “Little Tuan Tuan with full taste”. This article will reflect on this 29th Denny JA selected work and present a deep perspective on the essay poetry.    I. Introduction  A. Background Denny JA As Author  B. Introduction to “Little Tuan Tuan with full taste”  C. Purpose and Scope of Articles    II. Work Analysis  A. Unique and Interesting Writing Style  1. The style of language used  2. Use of imagination and metaphor  B. Themes and messages delivered  1. Challenges and conflicts in life  2. Struggle and Success  C. Character and Story Development  1. Main character analysis  2. Interesting plot development    III. Meaning and relevance  A. Understanding of Little Tuan  1. Definition of a small tuth  2. Implications in daily life  B. Relationship with Cultural Diversity  1. Cultural touch in the story  2. Effect on understanding of diversity    IV. The impact and acceptance of essay poetry  A. Community Response to Denny Ja’s work  B. Positive Effects of Essay Poetry on readers  C. Awards and achievements achieved    V. Conclusion  A. SUMMARY OF WORK ANALYSIS  B. The uniqueness and privilege of “Little Tuan Tuan with full taste”  C. Relevance and Impact of Poetry Essays to the Society    In this article, we have contemplated Denny Ja’s selected work, which is “Little TuanTuhan with full taste”. In the analysis of this work, we have discussed the unique writing style, themes and messages conveyed, the character and development of the story, as well as the meaning and relevance of the essay poetry. In addition, we have also seen the impact and acceptance of this essay poetry in the community as well as the award and achievements it achieved. Denny Ja is able to create work that inspires and has a positive influence on its readers. “Little Genuanan with full taste” is a concrete proof of the uniqueness and specialty of Denny Ja’s work.

Check the full: contemplate Denny JA’s selected work to 29: Little Tuan

[salwaerlita]

Appreciate the chosen work of Denny JA to 40 tomorrow morning, the apartment is uncertain with professional maturity

In the world of Indonesian literature and culture, enlightenment and intelligence emanating from the work of Denny JA has influenced and inspired many people. At the 40th celebration of the chosen work of Denny JA titled "Tomorrow morning, Introduction" with professional maturity, we appreciate the extraordinary journey in creating a work that goes beyond the boundaries and explores various aspects of life. Denny JA is known as a writer, cultural, and activist who is tireless in conveying his ideas through his writing. He has dedicated his life to lifting the intellectual and moral qualities of the nation, and struggles for freedom of expression and social justice. In his elected work, Denny JA has shown extraordinary professional maturity. He not only presents interesting and entertaining stories, but is also able to bring deep ideas and captivate the reader's mind. Every word expressed has the power to absorb and change our perspective on life. One of Denny JA's chosen works that should be appreciated is "tomorrow morning, the apartment is uncertain". In this essay poem, Denny Ja tells the life story of a young man named Therapy full of uncertainty and challenges. Therapy is a young man who has a big dream to achieve success in his life, but must face various obstacles and difficulties that confront. In the course of his life, therapy must fight against the stereotypes and prejudices that exist in society. He must question what he really wants in life, and find the strength and courage to face future uncertainty. This story not only captures the attention of the reader with an interesting plot, but also invites us to reflect and think about the purpose of our own lives. Denny JA's professional maturity is reflected in his ability to present strong and complex characters in his story. He is able to capture human essence and describe life with all its complexity. Through realistic characteristics, Denny JA managed to build empathy and admiration for the reader. In addition, the work of Denny JA also has a deep message and is relevant to the existing social conditions. He is able to raise important issues such as social justice, corruption, and individual struggles in achieving imagery. Denny Ja is a writer who not only talks about life, but also tries to change it through his words. Denny JA's work is also often an inspiration for many people. He is able to present the story of the story that touches and encourages the reader to see the world with a new point of view. Through his writings, Denny JA has managed to open our minds to various problems and motivate us to act. In the 40th celebration of Denny JA's elected work, let us appreciate their dedication and contribution to Indonesian literature and culture. Through his chosen work that inspires mind and emotions, Denny JA has helped shape the mindset and enrich our understanding of life. Tomorrow in the morning, the apartment is uncertain, but with the professional maturity of Denny JA, we can see the future with hope and courage.

Check in full: Appreciate the 40th elected work of Denny JA: tomorrow morning, it is uncertain "with professional maturity"

[qu-film-history-to-1968]

RKO Pictures’ Influence on Horror as Seen in Bedlam and Cat People

By: Julia Kusmenko

The horror genre has undergone development over the past few decades. In particular, from watching the 1946 film Bedlam, this horror film evokes the style of the horror created by RKO Pictures in the 1940s. In the plot of the film, a character named Nell Bowen is sympathetic to the people kept in the St. Mary of Bethlehem Asylum. After being antagonized by a wealthy man named Lord Mortimer, Nell Bowen is deemed insane, thrown into the asylum, and must help the patients of St. Mary’s from inside Bedlam’s walls. In addition, the style of horror present in this film was influenced by the studio talent Val Lewton who was contractually tied to RKO Pictures since Lewton wrote the screenplay for Bedlam. From this, one could compare the films produced by RKO Pictures such as Bedlam and Cat People since the studio influenced the storytelling of and aspects of horror present in these films. 

This film is different from the horror movies created by other popular studios of the 1940s since the scenes in Bedlam does not explicitly show the source of the terror and instead lets fear fester in the mind of the viewer. For example, this is exemplified when the yells of people being punished in the cells of St. Mary’s can be heard off screen. Another aspect of the horror in Bedlam comes from the character George Sims who runs the St. Mary of Bethlehem Asylum. In this film, George Sims punishes the patients of St. Mary’s behind closed doors; Sims also speaks of harming the patients when talking to Nell and other members of high society. In this way, the audience must visualize the terrors that happen in the asylum when hearing George Sims’ depictions since the audience is not able to see the harm first hand. 

This technique of fostering horror compares to the techniques used in the 1942 film Cat People since the camera angles and use of framing used in this production limit the audience’s view to terrorize the audience. This style of storytelling is indicative of Val Lewton’s since he also produced Cat People for RKO Pictures. Another aspect of Bedlam that relates to Cat People is that both films incorporate a strong female lead. In the words of Mark Jancovich, Val Lewton's horror films typically include a “female-centered narrative” that impacts how the viewer experiences the film. For example, the leads in these two films are Irena and Nell are strong women who dominate the screen and the story. From this, Val Lewton’s influence on the films Bedlam and Cat People ultimately impacted the style of horror created by RKO Pictures. 

As recounted in the Journal of Film and Video, Val Lewton believed that horror is more successful when “things are left to the imagination” (Jancovich 22). An example of this can be seen in an image from Bedlam when the character known as The Stonemason walks through a hallway lined with cells in St. Mary’s. In this scene, the prisoners of the asylum reach their hands out to grab The Stonemason and call to him. While the viewer cannot see the faces of the prisoners, their presence in the shadows generates tension within the scene.This scene from Bedlam relates to the shots presented in Cat People because dark shadows and framing are used in both films to create drama. In this way, Cat People utilizes the same techniques as Bedlam to evoke themes of horror. Overall, RKO Pictures produced films in the 1940s that stood out from other studios’ horror films at the time in the techniques it utilized and its style of storytelling. 

Image from Bedlam:

Works Cited

Jancovich, Mark. “Relocating Lewton: Cultural Distinctions, Critical Reception, and the Val Lewton Horror Films.” Journal of Film and Video, vol. 64, no. 3, 2012, pp. 21–37. JSTOR, https://doi.org/10.5406/jfilmvideo.64.3.0021. Accessed 15 Oct. 2023.

[bloghasnah]

Exactly review: Denny Ja 65's elected work, looking for a king in the king

In the world of Indonesian literature, the name Denny Ja is never timeless. Denny JA, also known as a cultural, writer, and activist, has given birth to many works that inspire and influence many people. One of his latest works that should be discussed is an essay poem entitled "Finding a King in the King". In this article, we will review precisely about the contents and messages contained in this selected Denny JA 65 work. In "Looking for a King in the King", Denny JA invited the reader to question the concept of power and leadership in society. This essay poem tells the journey of a figure named Joko Rianto, a successful businessman who is obsessed with becoming a king. However, over time, Joko Rianto had to face the consequences of his unlimited desire. In this essay poem, Denny Ja uses distinctive language and storytelling that flows to describe the main characters. He was able to describe the complexity of Joko Rianto's mind and emotions very deeply. Through a strong narrative, Denny Ja also describes the conflict that occurs between the individual's desire to power and social responsibility inherent in the leadership position. One of the advantages of Denny Ja 65's selected work is the use of strong social analysis. Denny Ja describes the daily life of the people in his essay poetry very realistically. He revealed various social problems that exist in society, such as corruption, injustice, and economic inequality. Through his sharp social criticism, Denny Ja was able to raise the awareness of readers of the social conditions that were around them. In addition, Denny Ja also uses various interesting narrative techniques. It combines elements of realism with magical elements in his storytelling. This gives a deeper dimension in the story and makes the reader amazed. Denny Ja also uses various symbols and metaphors that contain philosophical meanings to enrich the story and understanding of the reader. Even so, there are some criticisms that can be given to the elected work of Denny Ja 65. This essay poem tends to seem too long, so it can make the reader lose interest. In addition, some parts of the story feels too slow in the development of the plot. However, overall, "Looking for a king in the king" remains an interesting work and full of messages that can be taken. In his conclusion, Denny Ja 65's elected work, "looking for a king in the king" is a literary work that should be appreciated. Denny Ja is able to present interesting stories, with strong characters and sharp social analysis. Although there are some shortcomings in terms of story development, this work still succeeds in delivering a deep message of power and social responsibility. For lovers of Indonesian literature, "looking for a king in the king" is a work that must be read. 

Check more: Review precisely: Denny JA 65 elected work, looking for a king in the king

[nayablog2]

Tracing the brilliance of Denny JA 5: Romi & Yuli's selected work from Cikeusik

In this paper, we will explore selected works from Denny JA 5 entitled "Romi & Yuli from Cikeusik". This work is one of the many works given by the award by Denny JA 5, an institution that respects and promotes art and culture in Indonesia. Through this search, we will explore the uniqueness and beauty of this story and dig deeper about the message to be conveyed by the author. I. Background Story Romi & Yuli from Cikeusik The story of "Romi & Yuli from Cikeusik" raised the story of two young people from a small village named Cikeusik. They are Romi and Yuli, two children who grow in difficult life in the midst of limitations and challenges in their village. This story illustrates the strong struggle and determination of the two main characters in dealing with hard and without hope. II. Character development and plot In this story, the author managed to develop the characters Romi and Yuli very well. They are described as young people who are full of enthusiasm and determination to change their lives even though they are faced with many obstacles. This story plot is also well designed, showing the life journey of the two main characters from their difficult life in the village of Cikeusik until finally achieving a better life. III. Messages and meaning of the story Through the story of Romi & Yuli from Cikeusik, Denny JA 5 wants to convey a message about the power of determination and enthusiasm to change life. This story reminds us that no matter how difficult and despair we face, we always have the ability to change it and achieve success. This message is very relevant to our daily lives where we are often faced with challenges and failures. IV. Writing style and language beauty In this story, Denny Ja 5 uses a flowing and descriptive writing style. He is able to describe the beautiful life in the village of Cikeusik and emotions and the development of the characters of Romi and Yuli. The language used is also simple but beautiful, making the reader captivated and connected to this story. The beauty of the language used by Denny Ja 5 also reflects its expertise as a writer. V. Effects and Impacts of this Work Denny Ja 5: Romi & Yuli's chosen work from Cikeusik has a great influence on society. The story raised in this story inspires readers not to give up in facing life challenges and to always try to achieve success. This work also promotes Indonesian culture by describing life in Cikeusik Village in detail. The impact of this work is an increase in appreciation of Indonesian arts and culture as well as the spread of positive enthusiasm in the community. VI. Conclusion In this article, we have traced the brilliance of Denny Ja 5 selected works, "Romi & Yuli from Cikeusik". This work gives a beautiful picture of life in the village of Cikeusik and inspires readers to have determination and enthusiasm in facing life challenges. Through this story, Denny Ja 5 managed to deliver a strong message about the power of change and success. This work also has a positive impact in society by promoting Indonesian culture and disseminating a positive spirit in the community. 

Check more: Trace the brilliance of Denny JA 5: Romi & Yuli from Cikeusik selected

[diaalagii]

Look deeper: Review of selected work Denny Ja 60: I Wait for Each Kamisan From a Professional Angle

In the world of Indonesian literature, the name Denny Ja is often in the spotlight. Known as a writer, activist, and intellectual figure, Denny JA has produced many works that influence the thinking and culture of society. One of his latest works that attract attention is "I wait in every kamisan". In this article, we will look deeper about this Denny JA choice from a professional point of view. As an experienced writer, Denny JA has the ability to explore various themes in his work. "I am waiting for every kamisan" is a collection of short stories that highlight everyday life with various points of view. In these stories, Denny Ja succeeded in describing the social and emotional reality experienced by various characters. With a flowing style of writing and a sharp description, Denny Ja succeeded in presenting a clear and deep picture of everyday life. In "I wait in every kamisan", Denny Ja is also able to take advantage of his personal experience as an activist in presenting relevant contemporary themes. These stories illustrate various social and political issues that are often faced by the people of Indonesia. Denny Ja is not afraid to express his opinions through his work, but do it in a professional and impartial way. This is one of the strengths of Denny Ja's works, namely its ability to convey important messages in an objective way. In addition, Denny Ja's writing style also deserves praise. His writings have the power to attract the attention of the reader and make them involved in the story. Denny Ja uses various effective narrative techniques to create tension and build a deep atmosphere. The choice of words and good language use also makes Denny Ja's works more fun to read. Not only that, "I wait in every Kamisan" also shows Denny Ja's expertise in managing the structure of the story. Each story has a clear plot and presents an interesting conflict. Denny Ja managed to combine the narrative elements well so as to form a cohesive and interesting story. This expertise proves that Denny Ja is an experienced writer and has a deep understanding of the structure of the story. In his conclusion, "I wait in every kamisan" is an interesting work and is able to influence the reader in a professional way. Denny Ja managed to explore various themes with a strong writing style and effective use of language. This work also presents a clear picture of daily life and is able to convey important messages in an objective way. As an experienced writer and intellectual figure, Denny Ja has produced a work that deserves recognition and appreciation. 

Check more: look deeper: Review of selected by Denny JA 60: I am waiting for each Kamisan from a professional angle

[mcs172-blog]

Week 5

5/2

Though this week's lecture was online, I was able to learn a new perspective about melodrama. I never thought about how the author of these books or film adaptations play a significant part in how the story is told through their lens. With their influence, brings a new understanding with how the story is brought meaning, and with the context of melodrama and re-adaptations, All That Heaven Allows is an example that can be examined.

The movie is a film adaptation of the book of the same name by Edna L. and Harry Lee, where there are some scenes that differ between the book and the film. Michel Foucault's "What is an Author" explains the sociohistorical influences of an author its work to create 'the man and his work'. By explaining that the author remains still an outsider of the work they write, they still characterize and impact the story, characters, plot, and more with their own life experiences and wish to live through other means. As well as, breaking down what actually makes an author, as a contract can have an underwriter, but not an author. This means an author must utilize the existence and discussions of life and society in order to be considered an author.

In Roland Barthes's "The Death of The Author", he examines the other side of being an author or rather, the absence of it. Though the author is integrated into the work through influence, plot, and character, they can be seen as simply an analytic tool to explain the void of storytelling that is not from the characters. Barthes also explains how the author is unchanging as they are the structure of a novel while the reader is changing since the reader's relationship to the text will always change. This is due to the fact that the reader is more than one individual with different life experiences and text interpretations.

5/4

Laura Mulvey's "All That Heaven Allows" analysis essay is one that made me realize how Douglass Sirk is a genius. At first, Gary Simmons's "Far From Heaven" essay was one I thought was added to the syllabus by mistake as Far From Heaven was not on the list of movies we've watched. However, with the theme of "re-adaptations", I realize that Far From Heaven, directed by Todd Haynes, is a "re-adaptation" of Douglass Sirk's work such as All That Heaven Allows.

Tying this into what makes an author, Haynes is an author by understanding the circumstances of society and creating his film with it. The creative choices in color, clothing design, and lighting, all inspired by Sirk, are meticulous in detail to portray his homage to Sirk. Such as utilizing the same plot line of having a not-so-happy ending as well as the plot itself, the decision to incorporate the male protagonist's real-life sexuality into Haynes's own film where he is visiting gay bars. With the examination of racism, miscegenation, and homophobia, Haynes is an author by nature as he was able to examine and story tell issues about society in his work.

Laura Mulvey's "Notes on Sirk and Melodrama," examines a point where the woman's domestic sphere of a phallocentric patriarchal culture is interrupted due to sexual repression of same-sex attraction. The eruption of same-sex attraction in Sirk's films is proven to be similar to tragedies with the acting out of what the male role is supposed to be in the male-dominated democracy.

[coilgroup6]

How the story elements of both films compare and contrast and what that says about the point each film is trying to make, as well how it reflects the culture it came out of.

Both Machuca and Jojo Rabbit are movies depicting a difficult time in their respective country’s history as well as the ramifications of growing up in such a society. When analyzing the way their plots are structured, it’s clear that these movies have a lot of similarities.

Both movies portray a coming of age in difficult circumstances. Both characters lose people that are precious to them, and similarly are able to survive these circumstances by following the status quo. Were it not for both characters’ conformity, they may have shared the same fate. Both characters encounter someone who changes their world view and expands their understanding of how the world truly is. However, it is the differences between both movies that really make their messages truly shine.

Machuca is a movie that focuses more on the impact of socio-economic status on young people and how it affects them as they grow up. Jojo Rabbit on the other hand focuses more on the socio-political aspect, and how these political events can shape not only the growth of a person but also the ideologies and beliefs they hold. While Machuca also features this, their beliefs and ideologies are shaped more due to their economic states which reflect the current political climate. That is to say, their economic states shaped their political views, whereas in Jojo Rabbit their political views shaped their economic state. They also differ in their endings: Jojo eventually breaks away from his old self to survive, whereas Gonzalo hides within his old self in order to survive. Jojo’s story is driven by his action, whereas Gonzalo’s story is driven by his inaction. 

Both countries have experienced times of civil unrest and conflict resulting in casualties. The cultures that produced these films reflect their views on their countries’ pasts, and how it influences their present. Both films are social commentaries on the events that shaped their country and can serve as a cautionary tale against blind faith in one’s beliefs. Every story has two sides, and if one isn't careful, they may end up on the wrong side of history.