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

[notebooks-and-laptops]

Why Fenris could Never Cameo in Dragon Age: The Veilguard

In the run up to Dragon age: The Veilguard, I was almost certain that Fenris would be our main legacy character from previous games. Not only has he been central in the comics released between DAI and DATV, he is an escaped Tevinter slave who's plot revolved around magisters, magic and the structural prejudices surrounding elves in Thedas. Not only that, but he's canonically in Tevinter killing slavers currently so he's geographically in the right place for us to meet him.

About halfway through the game though, it was clear to me: Fenris could never cameo in The Veilguard. Because he'd break it.

How the Veilguard treats Thedas is...odd to me, to say the least. I will be writing another post about how much I adored the expanded big lore in this game (the titans, ancient elves were spirits, where the blight came from etc.) and yet while these large lore expansions worked for me, the actual culture of modern Thedas is entirely softened, its sharp edges filed down until it's a sanitised fantasy world devoid of what made the franchise so vibrant and compelling in the first place.

So let's start with Fenris and slavery. In all three games, the reality of slavery is pushing at the corners of the world. In DAO Loghain allows Tevinter Magisters to enslave elves in order to raise money for his war effort. In DA2 Fenris is fighting to be free from slavers who will not leave him be, let alone the reminders that the city was built by slaves which are everywhere. In DAI one of the two possible mini-bosses is Calpurnia who was a slave, and characters such as Gatt and Dorian both show us how much slavery is tied into Tevinters culture and success.

But DATV the first game actually set in Tevinter where we get to see the famed Minrathous...it's like the game purposefully wants to avoid the issue. I can feel it tilting the camera away to not allow me to see. Slavery is mentioned, but never talked about in depth or as a specifically ELVEN problem in Tevinter. This might have been done to be less problematic, it feels ignored.

We are in DOCK TOWN. We are at the DOCKS. You would think that slaves from all over Thedas who are being smuggled and bought by various groups would be everywhere. You would think that the injustice in dock town would be partly built on the back of ships we've seen in the comics crammed with elves in chains. This is the world Dragon age set up for us. And yet...nothing. zilch. A tiny easily skippable side quest where we free a couple of venatori slaves, but only one of whom is an elf.

None of our Tevinter characters seem to have been influenced by their culture even a little bit when it comes to how they view elves; there is no moment when Neve fucks up and says something prejudiced, no moment when Bellara or Davrin are distrustful of her for being a Tevinter mage.

The same goes for Zevran; a character who epitomised the issues with the crows. The crows have consistently been characterised as very morally dubious assassins who kill for the highest bidder and who buy children on the slave market and torture them as they grow in order to assure that they reach maturity able to withstand torture without giving away a client's name. Zevran is very explicit about the fact that if you fail a contract your life is forefit.

Nobody responds particularly to you if you're an elf. Nobody trusts rook less for it in Tevinter. Nobody treats Rook any differently. Even DAI had better mechanics for this; with nobles in Orlais less likely to trust you as an elf.

Considering one of the main plot points of this game and what makes Solas sympathetic is the fact that he was fighting against the slavery of ancient elves...you'd think the game might want to mirror that in modern Thedas. It might want to show us how characters fighting to end slavery in Tevinter are similar to Solas and how the society Solas fought against was similar to the one that characters we love such as Fenris have fought against in modern Thedas. Maybe we'd want to explore how in a world of slavery like this, how could the answer NOT be to tear it all down? Maybe we should have that option at the end of the game so it really can chose whether we agree with Solas and his plans or not.

Adding Fenris to this game would entirely break the game because Fenris refuses to allow you to look away from this horror. He is a sympathetic character who had to learn to trust mages again because of course he didn't trust them. Of course he didn't. Fenris wouldn't allow the camera to shift focus because he's literally covered in the lyrium scars that show how slaves are used as experiments in Tevinter. Fenris WOULD question Neve on how she feels about elves and slaves. Fenris WOULD have things to say about Lucanis and the crows (let alone the fact Lucanis is an abomonation). So he could never be in this game; he'd drop a bomb on it's carefully constructed blinders to the very society its supposed to be set in.

And yet, in DATV, the crows are presented as...a found family of misfits and orphans? The politician who opposes the crows having absolute power in Antiva is framed as a comically evil idiot who doesn't understand that the crows are ontologically good. Yet...they're NOT. Crows in this game act more like a secret rebel group than an assassin organisation. We see no crow taking contracts with the VERY RICH venatori magisters despite being hired killers. We see crows just refuse to kill people despite having a contract because 'its crueler to leave them alive'. The crows don't feel like the crows here, they feel like a softened version of a cool assassin group who are cool because they wear black and purple.

Our pirate group are also sanitised; the Lords of Fortune are good pirates who only steal treasure that's not culturally significant. Theyve clearly read the modern critiques of the British Museum and have decided to explicitly stop anyone levelling similar critiques at them. There is no faction of the Lords of Fortune who aren't like this, no internal arguments about it. Everyone just. Agrees. And is able to accurately tell what a cultural artifact is vs. what treasure that you can have yourself is. Rather than showing us why a pirate stealing cultural artifacts might be bad (like in da2 where such a situation literally causes a coup and a war) it just tells us it's bad. But also pirates are cool so we still want them in our world.

This issue seaps into Thedas and drains it of any of the interesting complexity and ability to SAY anything that this franchise had before this game. It becomes a game about telling and not showing rather than the other way around. The games have ALWAYS asked questions about oppressive structural systems and their interplay with society, religion and culture and how these things can affect even the most well meaning character. Dragon age at its best IS a game about society and how society functions both for and against it's characters and what happens to societies built on cruelty and indifference. The best bad guys dragon age has given us are those who are bad because they embody these systems or have been shaped by them. Our main characters have had to wrestle with questions surrounding how to exist in these systems, fight against them, learn and grow.

Yet every group you come across in DATV is sanitised and cleaned up to the point of being as non problematic as humanly possible. None of our cast of characters have to wrestle with where they came from or the world that shaped them. None of them have to confront their own biases. They start the game perfectly non-problematic and end it that way too.

And this just...isn't what Dragon Age has been in the past. It isn't why I love the franchise. The whole game just felt, in a way, hollow. And this was a CHOICE and it is why the legacy characters are few and far between. Too many dragon age characters are just too...angry and complex for this game. You can feel them pulling their punches on this one. I have to imagine they did this because they didn't want to be criticised or have too much controversy? But I think it honestly goes far too much in the other direction and just makes it bland.

I can't imagine what I say here will be unique, but it is the basis for a LOT of my other thoughts on this game so I wanted to get it out of the way first. The softened Thedas and characters make this game by far the weakest in the franchise.

[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.

[donkoogrr]

Do you think Bruce Wayne became written as a worse and worse parent because the idea of what makes a person "Heroic" has changed over the years?

(Cut for rambling)

At the start of Batman comics there was a very clear need for the audience to suspend their disbelief. The comic was very much a story, a reflection of the world where the reader was to be entertained with tales about a strange detective investigating the strange crimes of Gotham City.

Robin was Batman's partner, a new element to the story that appealed to a younger audience. They were a team that brought in a lot of capital. Authors would write heart-rending storylines and at the opposite page there would be a weird cheerful ad for Batman and Robin using fruit pies to stop crime.

Society evolves quickly and our media can struggle to keep up. The notion that children should be protected is a relatively recent one and it makes the inclusion of child heroes become... unpalatable to people. Modern values have changed and so too must the characters.

But applying current social values to the concept of child heroes would erase them.

Their whole existence is to be young and to fight the people who want to hurt them. To be young and be able to protect one's loved ones is a compelling story.

It's not just comic book heroes who fall under this paradox, either. Avatar: The Last Airbender is full of children learning how to fight and die for their world. Percy Jackson is another. Hell, one could even make a case for Warrior Cats. The Hardy Boys and Nancy Drew were facing off with murderers just as often as any kid hero.

It's a common and loved story because we've all been children who have had to carve out a place for ourselves in the world.

So the existence of Robin, of child heroes in general, becomes an awkward duality. The character is too profitable to retire. Many people can still suspend disbelief enough to enjoy the story. Other people struggle to accept that a "hero", a "good Dad", could allow his children to fight at his side.

So authors are tasked again and again to try to explain Robin. To excuse the existence of a child hero in a day and age when most responsible adults would freak the fuck out at the idea of a kid going out at night to fight criminals.

And sometimes, more often than many of us would like, they come up with writing Bruce as a bad parent. A bad leader, even. It doesn't help that writers don't often get to have stories published that have significant influence on Batman as a character. He's purposely, perpetually trapped at one starting position for every new story.

Which is a valid take. In my opinion it's uninspired, but I understand the rationale behind it. They're working against a lot of baggage. There's nearly 90 years of culture shift to account for and hundreds of authors. Even the way comics are written now is very different from back then and that also messes with perceptions.

To me, Bruce is a deeply flawed man. He's been a shitty dad, yes, but not because Robin exists. He didn't have a choice with Robin - that was decided by forces beyond his control. I don't know how to judge canon Bruce Wayne; there are genuinely too many stories for me to feel like I have an accurate read on him.

I know that he tries very hard to do good. I know that he has the potential to make better choices and take kinder actions.

I'm not going to hold my breath, though. Even if we get a canon Batman run where he gets therapy and apologizes for his mistakes and past actions, where he has some real, meaningful dialogue with the people he loves... The next writer can ignore that for a more dramatic plot where he acts like a complete drip.

Pick your preferred version and warp canon to fit that guy - it's what DC does.

Thank the goddess for fanfiction.

[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.

[monjustmontemp]

Sailor Moon is simply lovely

This wouldn't be my first choice of anime for entertainment. The stakes do not truly create tension, there's not much intrigue to the series so far, the plot seems quite repeatable- but gosh, it is lovely to look at and listen to. (And I got a second opinion here! My niece, 7 months old, was enraptured with Sailor Moon.) The music is catchy without being annoying, the linework and the color selection is charming, and I'm just absolutely enjoying myself when watching. I could watch the intro and transformation scenes over and over and over, which is convenient since the series does seem determined to present them as many times. This is absolutely top tier comfort media. I could watch this and turn my head off with a tub of ice cream.

It is also very overtly a series with girls in mind in a way that is refreshing. Our heroes are girls, and most enemy combatants are ladies. The main villain is a queen. The kitty is a girl. It also knows how to have a flawed female protagonist. Sailor Moon is a teenager that is distractable, naive, arguably irresponsible, potentially somewhat dumb, not particularly courageous (at least as of series beginning), but nonetheless, compelling as a character. Serena by the end of the episode has always learned a lesson and surpassed a fear or a frustration. I think it makes it an excellent series for any growing girl who might need to grow into her confidence. In a world where a lot of media can't pass the bechdel test, this is something that sets it apart. It deserves its popularity and cultural influence.

My favorite character so far is probably Sailor Mars. She is focused and serious, her attributes very much in contrast with Sailor Moon's, and so the lessons she will learn will be different. This is another point of merit for the series. Different girls with different struggles are likely able to relate to the different sailors.

While I do not, as of now, get the sense that the series is making any particular critique of society, (apart potentially from how easy people are to manipulate in a consumerist society? Most of the evil plots from the villains require trapping people with the promise of gifts, which is universally relevant in this capitalist day-and-age. I just don't feel the series focuses enough on it to manifest itself as part of the core message) I think that the things that make this series stand out function as a sort of meta-critique. This series would not stand out as much in a world where the focus of movies and series was more varied and more female characters were as deeply explored as male characters tend to be.

To leave on a positive note, I think I might keep this series on as background entertainment. I might add the intro song to my music list.

[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!

[notsp1derman]

a delighted review of emma, by jane austen

“Seldom, very seldom, does complete truth belong to any human disclosure; seldom can it happen that something is not a little disguised or a little mistaken.”

do you ever read a book so charming you remember you had a blog for book reviews? This novel single handedly made me come back to the realm of writing things instead of just drawing things and attending uni, in a fashion only Jane Austen could do. I have a lot to say here, so buckle up friends!

To start, let me just say that the various influencers I trust the most on booktube all adore this book, so I started reading with high hopes and was promptly crushed with the knowledge that, yes, for the first time, an Austen heroine was infuriatingly annoying and egocentric. Emma is a young woman thrust in the revered position of a high society lady, the richest and most notable of her peers, and with that position and a lot of enablers as family and friends, it's no wonder she sounds like a spoiled brat for the first chapters of the book. This disheartened me, because as much as I love a flawed main character, there's only so much vanity I can endure, specially coming from rich people.

I was so sad to think I was going to hate this book, but thank all gods I was wrong! These flaws so well described paved the way for one of the most beautiful comings-of-age a girl could have, enrapturing and charming you to Emma just like every other character in the book, but also making very clear how her actions caused pain for a lot of people. Her growth and the forwardness of the descriptions about feelings and morality make this book much more relatable to a modern audience than other Austen books, which is a great thing if you want to start somewhere. Endure these first chapters of long descriptions and insufferable characters and you will soon not be able to put this book down.

Another great point was the comedy and just overall fun of the plot. The cast is varied in disposition and the young ladies and gentlemen entangle themselves in gossip, rumours, awkward situations, rivalities and much more, so every revelation makes you even more curious about the ending.

You will not like this book if you aren't fond of more discrete and nuanced feelings and long descriptions of properties and parties and people. But then again, this means you'll not like any Austen book, probably. Because of the cultural and temporal differences, some things would be unacceptable by today's standards, and because nowadays romance needs to be so brazen and dramatic it might seem like this aspect is superficial in a Regency era book. Still, I pray you give this book the chance it very much deserves, and you might surprise yourself with how much you end up liking these characters. Truly a timeless piece.

HEY!! THERE'S SPOILERS UNDER HERE!! to see my rating jump straight to the end if you want :)

Welcome to the fun part of the review >:)

Emma's development throughout the book is easily the best plotline in the book. Despite really being entitled and annoying at the start, you'll soon discover that her father and best friend are kinda right in saying she's oh so sweet and caring. My turning point for her character was when I really understood just how much pressure was she under as the mistress of her house, and how much she was conditioned to grow up quicker than she should and be the perfect daughter for her father and the perfect lady for appearances. Of course she would be bratty and blind to her own faults, of course she would constantly bicker with mr Knightley. She's just a girl wanting to escape her responsibilities and wanting more than a quiet life as her father's caretaker.

Elton's proposal in the carriage really sold this book for me. Emma made a lot of mistakes out of misplaced confidence and immaturity, ignoring Knightley's advice, but the moment she realises her errors she is immediately ready to repent and shamed by her actions. To then give her even more anguish through an insulting proposal alone with a man (and with his personality!) in a carriage where she couldn't escape, to then make her force herself to be her perfect self as to not create a scandal and worry her relatives. Just how strong this young girl is?

Then you start to realize that with a bit of growing and advice from friends, Emma's very kind and gentle side comes out more and more, and while she still is very flawed through the rest of the book, it is now very much clear how she's just learning to be an adult, and this made me feel so seen. Even today, there's so much pressure to be mature so early that we forget it's hard to grow up and change as a person. This is why I started rooting so much for Emma; she continued to be involved in the chaos she started and even said some mean things, but all the time I was just hoping she would learn and become a better person. And became one she did.

What's more interesting is that she was hurt too, and used by Frank Churchill only for his own goals, in a move arguably more offensive than the naïve attempts from Emma to help her friends find marriage. And even when slighted, she has the humility to answer kindly how she hurt others more, and quietly accepts that many of the things she ends up suffering were caused in part by her own actions.

There are a lot of flawed characters that stay this way by the end of the novel, but they are just people. Their flaws are well defined but so are their good sides. Mr. Woodhouse is a neurotic hypocondriac that just wants his loved ones to stay well; Mrs. Weston adoration of Emma is bad for her too, but serves as her safe spot when things are rough; Jane Fairfax is a sweet lady but is under great mental stress and thus is more irritable and untrustful; Frank has a good heart but his vanity and self interest come first sometimes; and mr. Knightley, as the most thoughtful, shrewd and just character in the book, succumbs to jealousy and ends up "blaming and lecturing" his loved one in a way "no other woman in England has borne".

I left mr. Knightley for last because he fascinates me quite a lot. He is very much the opposite of mr. Darcy from Pride and Prejudice, being the role model and better person of the pair instead of a misunderstood brooding man. Mr. Knightley is always right and his judgement is spot on, which he tries to relay to Emma to no avail, and ends up causing much of their quarrell. I kinda wish he would be just a little less right, because despite not being a perfect character in any sense, he shows his humanity just towards the end of the book (and then promptly charmed me). I just think it's a little unfair that Emma is expected to have the same level of thought of a man so much older than him, so it would be nice if he were just a bit less observing, maybe. Don't get me wrong, he admits to being too harsh on her and admits his faults towards Harriet, but still his advice never got Emma in a tough spot, and that would have been interesting to see...

Still, I need to talk about the elephant in the room. The huge age gap between Knightley and Emma, a whole 17 years, bothered me through the whole book, but specially in the end when Knightley says he has been in love with Emma since she was thirteen. Emma has been influenced by Knightley since she was young, and it's veeeery lucky he's as good as he is, otherwise this would be the most vile case of grooming I've read so far. But even though my 21st century morals made this icky for me, I can put that aside to analyze their romance through an 18th century mindset. Arranged marriages to men twice as old as you were very common, and as weirds as it is, I just can't review a book without considering the context. So this one remains a favorite and one I'm sure I will look upon with fondness.

Emma truly is a delight to read, and with all its faults I can't give it anything less than a 5 star rating. I think Jane Austen is just my comfort writer, because even as a person who thinks a lot about class, power and bigotry in the context of books and other forms of entertainment, sometimes it is just pure bliss to imagine yourself in a quaint little town in England, with your only problem being the fits and fights of rich people with nothing to do, and just appreciate good writing...

★★★★★ ♥

[nfr-reviews]

NFR Reviews #14: The Italian

Released 1915 / Inducted 1991

Watch film here

While the characterization of protagonist Beppo Donneti leans into negative Italian stereotypes of the time, like an inability to control strong emotions and a predilection to violent crime, they aren’t shown as inherent traits but as reactions to extreme trauma and the isolation that stems from prejudice. Structures of authority fail him at every turn. Cops are unsympathetic from the moment they come onscreen, tearing up his testimony of getting mugged in the street. His landlord initially seems friendly and is willing to offer him money and charity, but only sees him as a potential voter to increase his friend’s political power. He also refuses to help him when his baby’s life depends on something as small as pasteurized milk, despite certainly having the money to do so. He only cared about how he can personally benefit from people he has power over and became indifferent to their suffering otherwise. Real-life Italian immigrants found community not in powerful outsiders but in “Little Italy” neighborhoods. People could navigate a new country with others who shared their religious practices, language, and food. In some regions of the US, these two influences clashed. For example, Michigan’s Ford Motor Company emphasized the self-made man in their film productions and moved employees away from ethnic communities and towards generalized working-class neighborhoods near Ford plants for the sake of cultural assimilation. His minimum wage of five dollars per day was high for the time, but the full $5 was contingent on “character requirements” like taking Americanization classes (if you were a recent immigrant) or not having a wife working outside the home. The politician in The Italian is representative of how authority figures, of which Ford provides a real-life mirror, may do nice things for their employees or constituents but are insufficient for all a person’s community needs due to the transactional power dynamic. 

Perhaps to ramp up the tension when the tragedy starts, Beppo is left to fend for himself during the lowest moments of his life despite having people who care about him. On the boat to America, a crowd dances to lift their spirits, but Beppo is set apart, left standing still and consumed by thoughts of his wife back in Italy. He’s not physically alone much when he settles in the US, and his neighbors form a similar community to the real Little Italies. They dote on the couple at their wedding and the birth of their son, celebrating during the happy times. But from a story perspective, they’re a throng of unnamed background or side characters the audience knows little about, making them seem less close to the main family than they’re implied to be in-universe. They’re not bad people, and occasionally help in small ways when things go wrong, they just have their own responsibilities and struggles like the protagonist does. Beppo’s neighbors have a less self-interested relationship with him than a politician or landlord, genuinely wanting to form a thriving community, but the narrative places them as peripheral to the plot. This is so they don’t become an easy solution to the tragedies late in the movie. They can’t prevent him from contemplating an extreme action like killing the child of the landlord whose inaction indirectly caused Beppo’s son’s death. He only calls off the plan because the wealthy child reminds him of his own son.

His wife and son are actually prominent characters, but also depend on him more than the other way around. The infant is completely at the mercy of adults around him for obvious reasons, but his wife Annette depends on him for more socially constructed ones. Both the narrative and the society she lives in takes for granted that the wife stays home and cares for children while the husband is the working breadwinner. It’s never contemplated as a possibility that she would be able to pay for the milk, putting the onus on her husband to do it from his own wages. His responsibilities became overwhelming, the odds too stacked against him, and the death of his baby even more of a crushing blow due to how preventable it was. After getting the money for the milk stolen, he can’t bring himself to go inside his house and face them.

The distance between Beppo and the other characters sets up his anger and grief to explain his contemplation of violence, but the framing device distances him, as well as real people who’ve had similar experiences of prejudice, from the audience in a way that undercuts itself. The opening and closing scenes depict a comfortable man in possession of a nice house, nice clothes, and a nonzero amount of leisure time who reads a book and dreams himself into the main story (he and Beppo are played by the same actor). You could argue it’s supposed to be a breather from the dark storylines to come, but the Italy-set parts of the movie that focus on comedy, escapist landscapes, and romantic rivalry already fill that function. The more plausible explanation is that movie studios wanted to appeal to both working-class immigrants and the middle class audience viewed as more “respectable” to maximize ticket sales. Once the action moves to New York, the film is meant to be a realistic (if heightened by melodrama) social problem story with much less focus on escapism. Emphasizing that this story is in fact fictional might prevent audiences from getting too uncomfortable or depressed, but it lessens the rest of the film’s urgency and tragedy. But at the end of the day, it’s a small part of the movie so it doesn’t erase or ruin the entire thing. Beppo experiences different types of community and lack thereof: authority figures fail him due to greed or prejudice, his neighbors are sympathetic but not major characters, and his family is depicted as heavily reliant on him. All this culminates into a snowballing series of tragedies which will take a huge amount of strength and support for anyone to recover from, if he ever can.

Sources

https://www.forbes.com/sites/timworstall/2012/03/04/the-story-of-henry-fords-5-a-day-wages-its-not-what-you-think/

https://core.ac.uk/download/pdf/232015151.pdf

https://teachersinstitute.yale.edu/curriculum/units/1999/3/99.03.06/2

Black hands and white hearts: Italian immigrants as ‘urban racial types’ in early American film culture by Giorgio Bertellini 

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/A8188E40DDA25381A8C84638E566879B/S0021875821000542a.pdf/div-class-title-making-americans-spectacular-nationalism-americanization-and-silent-film-div.pdf

https://www.transatlantic-cultures.org/en/catalog/imigrantes-em-nova-iorque

https://umassdtorch.com/2019/03/07/life-as-an-italian-american-through-the-eyes-of-1915s-the-italian/

Italian-Americans’ Contested Whiteness in Early Cinematic Melodrama by Valerio Coladonato

[evangelynnnn]

(Week 9) Fandoms: A Digital Community of Belonging and Connection

Fandoms have developed into active online communities in this digital age as it gives people a feeling of community and purpose. Fandom spaces offer spaces for people to interact, collaborate, and celebrate their shared passion for a specific television program, video game, book series or even celebrities, whether through chat rooms, or fan art. These online communities provide more than simply a common pastime; they encourage friendships, creativity, and even social activity.

Personal Experience of Fandom and Community

As a video game enthusiast, I've discovered that fandoms offer a comfortable environment where passion for a common interest creates deep relationships. I've been able to make friends from all around the world by having conversations about my favourite game characters, strategies, or plots. The common passion cuts across geographic borders, turning online conversations into real friendship. Engaging in online gaming forums, for example, has provided me with a creative outlet and a sense of community.

Are Fans Really “Weird”?

Fans are sometimes portrayed in the media as "weird" or "overly emotional," but this image ignores the depth and diversity of the fan bases. Extreme fans may exist, but the majority of fans are kind, passionate individuals who use fandoms as a way to express what they know and interact with others. These areas serve as collaborative environments where fans share ideas, encourage one another, and even support social problems, going beyond simple spaces for obsessive behaviour. In order to challenge problematic representations of gender, racism, and sexuality in the media, for instance, fans have organised to demand better representation, which has helped to advance larger social discussions.

Toxicity on Fandom

The community and individual individuals are greatly affected by fandom toxicity, particularly among teenagers. Toxic behaviours frequently surface when supporters who are strongly associated with their group perceive outsiders or opposing viewpoints as threats (Milar & Mabulay, 2023). Cyberbullying, harassment, and discrimination can result from this elevated feeling of group identity. By rejecting more casual and inclusive fans, such behaviours foster an unpleasant environment that reduces fandom diversity and involvement overall.

Furthermore, toxic fan behaviour can hinder the growth of a positive, encouraging group. When toxicity occurs frequently, it discourages open communication, stops new members from joining, and restricts diversity of opinion and creativity. Social media, where people may communicate quickly and anonymously, frequently makes this behaviour worse. According Milar and Mabulay (2023), to resolve these problems, it requires encouraging constructive group dynamics and creating an atmosphere where opposing points of view are valued in order to maintain fandoms as inclusive and offer a positive environment.

Fandom as a Friendly Space for Asian Fans

Fans from many cultural backgrounds, particularly Asian fans, are welcome in online fandoms. Many fandom communities have grown more welcoming and international, even though some areas may still have barriers like language or cultural misunderstandings. As an Asian fan, I've observed that these places frequently embrace my identity, with common interests overriding cultural differences. Additionally, the internet encourages the sharing of other viewpoints, which enhances and broadens fandom conversations.

Fandoms as Platforms for Social Change

Fandoms have evolved into strong platforms for social change, using their combined influence to speak out for necessary causes. According to Fiorella (2023), new media and mass communication have allowed fans to go beyond passive involvement, allowing them to actively shape media content and society standards. Fans organise campaigns that call for equal treatment and inclusivity in the media, urging networks and streaming services to keep up different series or embrace open narratives. Furthermore, these communities frequently turn their enthusiasm into charity projects, using their influence to raise awareness and funding for a variety of social issues. For example, fan-led social media movements have backed mental health campaigns, environmental conservation, and social justice campaigns.

To summarise, fandoms are more than just a group of devoted supporters; they are communities that offer emotional support, develop creativity, and promote activism. They help people find their community, a place where they are understood and accepted for their interests. Despite certain challenges such as toxicity or stereotypes, fandoms continue to play an important role in the digital world, providing people with a sense of belonging and the ability to be a part of something bigger than themselves. Fandoms are an excellent beginning point for anyone looking for a sense of community online, demonstrating that shared enthusiasm can lead to genuine friendships.

References Milar, A., & Mabulay, E. P. (2023). Unraveling the Threads: Exploring the Influence of Media on Toxic Fan Behavior Among Teenagers Through the... ResearchGate. https://doi.org/10.13140/RG.2.2.23460.65929

Fiorella, G. (2023, May 15). The Social and Technological Evolution of Fandoms Through New Media and Mass Communication. TwoTwoOne.NYC. https://twotwoone.nyc/the-social-and-technological-evolution-of-fandoms-through-new-media-and-mass-communication/

[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.

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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. 

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