#subversive minimalism

[fashionlandscapeblog]

Anna October dress via The Frankie Shop

[hungry-hobbits]

i remain utterly convinced that das boot (1981) is one of the greatest war movies of all time

[angeltannis]

i'll probably make a proper post about it in the morning but I skipped ahead on my Watchathon list to check out The VVitch and um. i actually didn't really like it lmao

[psikkoo]

this weeks faves

[yuttikkele]

i love making tumblr posts but 90% of the post is actually tags so you have to read all the tags to understand it completely

[kaonash1]

(via gunmetalwoman, roses--and--rue)

[squapejuice]

"Hyur are so boring, why would you play a human in a fantasy game?"

Fine. Whatever. You find the idea of playing a human boring. But I'm kind of getting sick of people saying this to me, a hyur enjoyer, sometimes even directly under my own screenshots of my OCs.

Hyur in FFXIV are a *wildly* fascinating take on the "humans in a fantasy setting" that we often see in video games. They're an almost complete subversion of "humans are the dominant culture that everyone assimilates into and also they did a colonialism at some point, which is why their language is The Common One".

Meanwhile, hyur in ffxiv? They're MIGRANTS.

They're NOT the dominant culture. Are they the most numerous population in a lot of places? Sure. Because they have kids out the wazoo, but I digress. Hyur in ffxiv are defined by their adaptability and willingness to assimilate. They're *so* defined by adaptability that there are at least three major historical events throughout the astral and umbral eras called "The Great Hyur Migration". Hyur only arrived in Ishgard after the dragonsong war had started and you'd be hard pressed to find any modern Hyur born and raised in Ishgard who would define themself as anything *other* than Ishgardian. Their names may be slightly different than Ishgardian elezen, but I would theorize that might just come down to class dynamics as while hyuran noble houses exist, they're not common. However in Hingashi they've completely assimilated into eastern Raen culture, as an example. I actually hesitate to find any place we know ingame to be completely dominated by hyur, because in Gridania despite the elementals picking hyur to be padjal the culture seems to be most influenced by wildwood elezen, and in ala mhigo while hyur are the most populous of demographics, the entire culture seems to be a marriage of hellsguard and miqo'te. Ul'dah is clearly highly influenced by lalafell above all, and limsa lominsa is heavily developed by the sea wolf roegadyn. Hyur just kind of fit themselves in and adapt to what everyone around them is doing.

So why is the language spoken by all the peoples in Eorzea the same? Isn't that the hyuran language? Nope! It's pretty explicitly said that the common language is a pidgin tongue that was deliberately developed by merchants and was adopted widespread out of convenience. They even say that Tural took inspiration from this in developing their own (and it's only coincidentally similar enough that your party can understand it with minimal language barrier, funnily enough. That's a hilarious way to handwave 'eh, game mechanics' tbh).

Anyway hyurs are really cool and I really want to see more people appreciating them for the interesting lore they do have and also exploring this concept more. Like making their hyurs naturally predisposed to learning multiple languages for example.

[destructrice]

Not trying to go on a rant (and yet already ranting) but I’m sick of people faking that “granddaughters of the witches you couldn’t burn” isn’t an AWESOME feminist catchphrase, and branding it as white feminism because “Karen your granny is a christian conservative” like yesss it’s true my granny is a christian conservative but she also secretly had her tubes tied in an illegal clinic because my grandpa was against birth control, and my great-grandma ran away from home at 15 because her parents were against interracial marriage, and my great-great-grandma fled her country because there were no job opportunities for poor women there, and my other grandma also fled her country because her boyfriend tried to force her to have an abortion and she wanted to have her baby, and my mom never married and chose to raise a child on her own, and I am a feminist butch lesbian, and this is what this quote is about, it’s not about your granny being pagan, it’s about valuing your matrilineal lineage of subversive women, even if their subversion was minimal, because they could have been killed or maimed any time by men for not conforming to gender roles even in the slightest way, after all, the witches who indeed were burned were more often than not also just regular, mostly christian conservative, women that somehow pissed off a man

[physalian]

How to Subvert Expectations Without Compromising The Story

Whoo boy, is this a contentious topic with the last few blockbuster franchises. To “subvert expectations” is to do the opposite of whatever your audience expects to happen. Your audience expects the story to go a certain way based on the archetypes and tropes your characters follow, the tone you’ve set for your story, and the level of mature themes that tone allows.

It might mean your long-lost princess doesn’t actually reclaim the throne she’s been fighting for. Or the presumed hero (or any of their straight friends) of the story dies halfway through their arcs. The mentor pegged for death actually survives to the end credits. The villain’s plan actually succeeds, or the heroes fail to deactivate the bomb before it explodes. The “will they/won’t they” is never fulfilled.

Supporters of SE argue the following:

It’s refreshing, novel, new, a fun twist on a classic tale

They like that it’s unpredictable and bold

They’re tired of stories fitting within the same wheel ruts of every other story that came before and like to see creativity thrive

It gives audiences something they didn’t even know they wanted

Haters of SE argue this:

It’s only done for drama at the cost of fulfilling character arcs

It’s a cheap gag that only works once and has zero rewatchability with the same impact

Tropes and archetypes have stood the test of time for a reason - to entertain

Plot holes ensue

When expectations are subverted and the story changes in a more positive light (like a beloved character who doesn’t die when we all think they will), the reaction is not nearly as emotionally charged as when the story changes negatively. Thus, the haters have plenty of evidence of bad examples, but minimize the good ones. Good SE is novel, or a pleasant surprise, or a quaint relief. Bad SE trashes the story and spits on the fans and destroys the legacy of the fandom.

What makes a bad subversion?

Like killing any character for shock value, bad SE takes all of the potential of a good story and gambles it for a string of gasps in the movie theater. It exists only to keep the audience on their toes, or because the writer went out of their way to change the direction of their work when fans figured out the mystery too quickly and now *must* prove all the clever sleuths wrong.

So, say your subversion is making the hero lose a tournament arc when they made it all the way to the final round and the entire story is riding on this victory. They may have stumbled along the way and had some near-misses, but they must win. Not just so the audience cheers, but because this is the direction their arc must take to be at all entertaining and fulfilling.

Then they lose, because it’s *novel* and irreparable consequences are reaped in the aftermath. They lose when, by rights, they were either stronger or smarter or faster than their opponent. They lose when the hand of the author rigs the fight against them and everyone notices.

Sure, it’s not at all what audiences expect, but you, writer, your first responsibility to the people consuming your content is to entertain them. So what purpose does this loss serve this character? How does it impact their arc, the themes that surround them, the message of your story?

Even if mainstream audiences don’t care on the surface about themes and motifs, they still know when a story fumbles. It’s not entertaining anymore, it’s not satisfying. Yes, crap happens in reality, but this is fiction. If I wanted to read about some tragic hero’s bitter and unsatisfying demise, I’d read about any losing side in any war ever in a history book. I picked up a fiction book for catharsis.

On the topic of “gritty fantasy/sci-fi anyone can die and no one is safe” – no author has the guts to roll the dice and kill whoever it lands on. Some characters will always have plot armor. Why? Because you wouldn’t have a story otherwise, you’d just have a bloody, gory, depressing reality TV show with hidden cameras.

What makes a good subversion?

Now. What if this character loses the final round of their tournament, but it’s their own fault? Maybe they get too cocky. Maybe it’s perfectly, tragically in character for them to fall on their own sword. Maybe the audience is already primed with the knowledge that this fight will be close, that there might be foul play involved, but still deny that it will happen because that’s the hero, they won’t lose. Until they do.

Then, it’s not the hand of the author, it’s this character’s flaws finally biting them in the ass. It’s still disappointing, no doubt, but then the audience is less mad at the author and more mad at the dumbass character for letting their ego get to their head.

If you write a character who’s entire goal in life is to win that trophy, or reclaim their throne, or get the girl, and they *don’t* do those things, then the “trophy” had better be the friends they made along the way, that they learned it wasn’t the trophy, it was something *better* and even though they lost, they still won. Even when expectations are shredded, the story still has to say something, otherwise the audience just feels like they wasted their time.

A good subversion does not compromise the soul of the narrative. You might kill a fan favorite character or even the hero of the story, but their impact on the characters they leave behind is felt until the very end. The hero might lose her tournament, but she still walks away with wisdom, maturity, and new friends. Heck, sports movies leave the winner of the big game a toss-up more often than not. Audiences know the game is important, but they know the character they’re following is even more important. Doesn’t matter if the *team* loses the battle, so long as the protagonist wins the Character Development war.

Good SE that should be more popular:

The “Trial of threes” – your hero faces three obstacles and usually botches the first two and succeeds on the third attempt. Subvert it by having them win on the first or second, lose all three, or have a secret fourth

Not killing your gays. Just. Don’t do it. That’ll subvert expectations just fine, won’t it?

Let the villain win

Have your hero’s love interest not actually interested in them because they realize they deserve better / Have the hero realize they don’t want the romantic subplot they thought they did

Have the love triangle become a polycule / have the two warring love interests get with each other instead, or both find someone they don’t have to compete for

Mid-redemption villain backslides at the Worst Moment Possible

Hero doesn’t actually have all the MacGuffins necessary at the Worst Moment Possible

Hero is simply wrong, about anything, about important things, about themselves

The character who knows too much still can’t warn their friends in time, but lives instead with the guilt of their failure

The mentor lives and becomes a bitter rival out to maintain their spot at the top of the charts

Kill the hero, and make the villain Regret Everything

More deadbeat missing parents, not just dead parents

Let the hero live long enough to become the villain

—

Why write a crown prince that never becomes king? What’s the point of his story if all he does is remain exactly who he was on page 1 and learns nothing for his efforts? Why write a rookie racer if he spins out in the infield in the big race and ends his story broken and demoralized in a hospital bed? Why should we, the audience, spend time and emotional investment on a story that goes nowhere and says nothing?

Cinderella always gets a happy ending no matter how many iterations her story gets, because she wouldn’t be Cinerella if she remained an abused orphan with no friends. We like predictability, we like puzzling out where we think the story will go based on the crumbs of evidence we pick up along the way, we like interacting with our fiction and patting ourselves on the back when we’re proven right.

Tragedies exist. There’s seven types of stories and the fall from grace is one of them… but audiences can see a tragedy coming from a mile away. Audiences sign up for a tragedy when they pay for the movie ticket. We know, no matter how much we root for that character to make better choices, that their future is doomed. Tragedy is still cathartic.

What’s not cathartic is being bait-and-switched by a writer who laughs and snaps pictures of our horrified faces just so they can say they proved us wrong. Congratulations? Go ahead and write the rookie broken in the hospital bed. I can’t stop you. Just don’t be shocked when no one wants to watch your misery parade march on by.

[lej222]

Literary Allusions and Pop Culture References in ASLFUA

After School Lessons is a series that has minimal plot, but great underlying themes and references to other famous creations/pop culture moments. I thought it would be fun to collect as many as I can in this post and their possible narrative connection, not necessarily in order. :)

Cheol & Miae

One of the biggest running gags of the series is that the main characters have the same names as the famous Korean musical duo Cheol and Miae. The group was formed in 1992, with Cheol as the rapper and Miae as the singer. Their single, 'Why do you' became a huge hit and was referenced in ASLFUA plenty of times. Obviously, the main joke here is that the singer Miae was taller than rapper Cheol and they were only friends, while Unripe Apples Cheol is taller than Miae.

Nostradamus

The prophecy of Nostradamus said that in the 7th month of 1999 a great king of terror would descend from the sky and bring end to the world. Which makes it even more interesting that the supernatural powers in the story started to be very active around July with the end of the first term and the start of the summer break.

Miae's posters on the wall: E.T (1982) and The X-Files (1993)

Interestingly enough, both feature aliens. E.T The Extra-Terrestrial might be more interesting for us readers, as it features a young boy named Elliott who befriends an alien. In one of the most famous scenes of the movie, E.T. is riding Elliott's bike in his basket, and the bicycle lifts off from the ground and two are shown flying in front of the full moon. In fact, in a poll made by Universal it was voted as the most memorable movie scene in 100 years of cinema.

Needless to say, there are some ovbious similarities with our story - the boy with the bike, the strange friend, the moon symbolism. In fact, Cheol is always looking at the moon so it wouldn't be a surprise if it was inspired by Spielberg's movie, plus one of the most impactful scenes of aslfua is when Cheol allows Miae to ride his bicycle with him in ep 95, the scene that I personally consider the end of the first part of the story.

Backstreet Boys

Miae is singing the 1997 hit song 'As Long As You Love Me'. Miae, like a typical teenager, likes boybands like the Fire Boys who might be the parody of The Backstreet Boys😃

Romeo and Juliet

There are quite a few references to the 1996 Romeo and Juliet movie, starring Leonardo DiCaprio and Claire Danes. On 3 separate cover pages, Miae is portrayed as Juliet, while Cheol and Jisu are dressed like Romeo. There's also a scene where Miae imagines being Juliet who is not allowed to meet her Romeo when she cannot see Cheol. I wonder if Jisu will also have a Romeo-like element in his story that could create a similar situation, it would be an amazing foreshadowing element.

Man in Black

It looks like Soonkki really loves her alien references, because we also have the 1997 movie starring Will Smith and Tommy Lee Jones, who play agents tasked with monitoring extraterrestrial life on Earth.

Titanic

Another movie that is mentioned many times in the story, the Titanic (1997) is one that Miae seemingly loves and has watched many times. In fact, it's funny how her favourite part is the car scene because it really shows us readers that Miae is interested in the idea of love, even if she doesn't know what it truly entails to be in a relationship.

Green Day

People born before the 2000s all know that characters listening to the American band's songs were often the slacker/stoner stereotypes. I've also written a post about how Jisu is seemingly the subversion of the 90s slacker/stoner and nerd archetype, while Cheol seems to be the subversion of the jock trope. Jisu is listening to Basket Case (1994) that has become the anthem of many slackers/stoners in the 90s, and weirdly fits his character really well considering Jisu is usually described as a strange person. I've also made several posts about Jisu possibly being on the spectrum, and it's interesting to see how Jisu expresses himself with the songs he listens to, no wonder his hobby is listening to music. If we consider Jisu might be bad at expressing his feelings through his body language, it makes this scene even more precious.

Speed

Cheol invites Miae to watch a movie together and it happens to be the 1994 classic starring Keanu Reeves and Sandra Bullock. Reeves plays a police officer who has to save the passengers of a bus without the speed of the bus dropping below 50 miles per hour, otherwise a bomb would explode the vehicle. It's one of the most creative action films ever made, but if someone wants to watch it, I advice not to watch the sequel because it is awful lol.

Scream

Miae wants Cheol to join the academy kids watching an R-rated movie which leads to a hilarious misunderstanding. To Cheol's relief, the movie turns out to be the horror movie Scream (1996).

Shakespeare and Carl Jung

Like I've mentioned in my supernatural involvement post under ep 116, we get a close-up of 2 interesting posters.

One of them is about the forest in Midsummer Night's Dream by Shakespeare. The 4 central characters in the play all get entangled with the supernatural, and the forest symbolizes a world where the line between reality and fantasy is blurred. Dreams play an important role in the story as they are sometimes real, sometimes simply dreams. In aslfua, we also have dreams, a forest where young Miae and Cheol played, a stone tower fairy that allegedly grants wishes and an unknown supernatural power that talks to Miae.

The coincidences poster is likely a reference to Carl Jung's synchronicity, a concept that states that seemingly meaningful coincidences have a deeper meaning. One has to realize the connection between their psyche and the material world to experience synchronicity, so basically you have to notice the coincidences that keep happening and put meaning to them. Because these coincidences have no rational explanation, they can be proof for a deeper order in the universe, almost like destiny, no wonder Jung used this concept to argue for the existence of the paranormal. A simple example: you really cannot decide what to study in the future, but have seen many posters on your way about one school. You go home and it pops up on the Internet. You start to wonder if it's a coincidence, and decide that it's a sign from above and eventually choose it. You've experienced synchronicity.

-> this happens when seemingly unrelated events become meaningful to you. Miae wonders how she keeps bumping into Cheol. She says he must have come to her neighborhood because of her wish. Miae experiences synchronicity when it comes to Cheol. Or we could say Miae acknowledges a deeper order in the universe that, through coincidences, let her meet Cheol again. Jisu also notices that he keeps meeting Miae through coincidences, he acknowledges the deeper order, he even remarks it's fun, but he goes beyond and says he feels like there's a higher power involved. Miae has no idea about her coincidences with Jisu so she her psyche doesn't make the connection with the material world. So we have synchronicity experienced by: Miae->Cheol and Jisu->Miae.

Jisu, the grateful magpie

Jisu's backstory gives us a reference to a famous Korean folktale about a man who saved a group of baby magpies from a snake and in return the magpies sacrificed themselves to protect him. Here, the illustration clearly shows Miae as the person who uses her bow and arrow to kill the snake, while we know she called Jisu a magpie when they were kids. Throughout the story, we see Jisu trying to protect Miae and repay the favor without much luck, which pretty much foreshadows one big possible role for Jisu in the storyline, no wonder he's the one who's aware of Shim bullying Miae. It's no coincidence either how in the present she thinks Jisu resembles more of a bald eagle, a predatory animal.

Stone tower

Although it's not an allusion, I wanted to include this one because it's a very famous superstition in Korea. People used to pray to the mountain Gods by building stone pagodas so their wishes would be answered. This tradition is still alive, though nowadays most people tell their wishes or pray for good luck. You usually put your stones on an existing stone tower because it also shows how people are interconnected and how you should respect others so your wish can come true through the wishes of others. That's why you should never destroy a pagoda that somebody else made, and it's also very disrespectful. Miae also makes wishes to the tower so Cheol can become her friend and he would one day come to her neighborhood. When Cheol wants to give her a book, he accidentally falls on the pagoda and injures himself.

The Matrix

The Matrix (1999), one of the most famous movies of all time, is about how reality is actually an illusion, and people can be blinded about the truth about their own existence. The main character Neo, played by Keanu Reeves, is someone who awakens within the Matrix, similarly to what we see in The Truman Show starring Jim Carrey.

In one of the most iconic moments of the movie, the oracle tells Neo not to worry about the vase, while Neo doesn't know what she's talking about until he accidentally drops a vase. This scene poses many different questions about predetermination and free will. Was Neo's act predestined by prior experince, free will, or maybe both?

If you look at my aslfua screenshot, you can notice the code from Matrix in green. And what happens in the scene? Miae and Jisu injure a plant in a pot. An accident, right?? Well, depending on how you interpret it based on the movie. And what does Jisu do? He intentionally throws the pot and destroys the plant. Can Jisu's act be considered a sign of free will? Because that is what he tells Miae- that he is not a bully, so he took the blame by flipping over the plant. Jisu might just be a glitch in the system if you know what I mean :D

The Bible

Last but not least, we have this super symbolic illustration at the end of ep2 after Miae meets Cheol. The biblical allusion is obvious, Miae is holding out a green apple to Cheol, a half-eaten apple. In the first part Miae is the one providing her knowledge to Cheol in order to help him mature. :)

There are probably way more references, but I'm kind of tired so I might add others in the future. :) If anyone read this whole thing, thank you so much! :D

[separocean-anxiety]

Okay look I haven't seen WALL-E in years but if they wanted to convey the whole "humans are MORE like machines than the ACTUAL robots now" thing without being horrendously fatphobic and ableist couldn't they have JUST animated them.

Think about it; WALL-E does that weird uncanny thing at the beginning where they use real live actual footage of people, which lends to the perception of this world as a future mirror of our own. Wouldn't it be neat if they emphasized humanity's newfound metaphorical resemblance to unquestioning machines by just animating them in CGI. You know. As in 3D models? Digital puppets???

Like you did not have to go and give them all the same body type and equate fatness and the inability to walk with laziness like oh my god you could've populated the Axiom with people with diverse bodies and mobility aids if needed without vilifying any single one and the mere FACT that they're animated would be the sign that something here is horribly awry: That humanity's evolved into an abstraction of itself at the will of a higher power (corporations, AI—in a meta sense, the animators themselves).

I say this as a long time fan of animation btw; this would use the medium to further enhance the story. In my head, this would just be more subversive and cool, a la the World of Tomorrow films, which did this entire concept way better thanks in no small part to Hertzfeldt's iconic "simple" animation style. The visual minimalism of the trilogy contrasts jarringly with the heavy lore and themes and philosophical ideas explored by its characters and it rocks.

Idk I'm just tired of being frustrated by this film; it's got stuff I really oughta love; its director made my favorite film of all time, a film that CENTERS AROUND DISABILITY AND IS RARELY ANALYZED FROM THAT ANGLE!!!!

I guess I should also note that I write all of this as a skinny able-bodied person but that doesn't make me any less pissed off about the choices that were made.

[fashionlandscapeblog]

Wearing my absolutely favorite sweater from Joseph Fall 2015 and Tibi skirt from around the same time, when both brands still had their mojo. These are pieces I've continuously worn throughout the years and which I'll probably never stop wearing.

[poppletonink]

The Marauders Fandom and How It Has Changed The State of Fandom Culture

The Marauders Fandom defies the natural state of fandom culture. Within the realm of the spiderweb of links, clicks and likes, fandoms have been born, have been nurtured and have been destroyed. Typically these fandoms follow a particular mould: by focusing on canon events, characters, and relationships between said characters, more art, writing and wonder is born. However, the Marauders fandom is unlike any of its predecessors or any fandoms being born today. Though its characters were once residents of the world of Harry Potter, in the eyes of the fans they are no longer bound to the confines of their original character archetypes (and their minimal development) as provided by writer J.K. Rowling. The internet has created a fandom renaissance - a rebirth of the characters who were originally solely there as ancestors and side characters to the so-called Golden Trio.

With this rebirth comes a subversion of what people think they know. James Potter (the father of Harry Potter) and his friends are no longer the distant memories of a forlorn, mistreated young boy. Through headcanons, fanfiction, edits, and fanart, and the "fanon" versions of these characters, they are given substance, personalities and backstories much richer than those that were scrawled into the pages of the Harry Potter series. From All The Young Dudes by MsKingBean89 (the most-read fanfiction on Archive Of Our Own) to Crimson Rivers by bizarrestars, formerly known as zeppazariel, these characters are given new life.

A queer utopia - perhaps that is the best way to describe and define this fandom. As it has settled into its cozy corner of the web, the fandom has become more bold and outlandish in their ideas. Debates have run riot over romantic pairings and sexual orientations projected onto any and all characters clawed into the cast that is beloved by this ever-growing group of people. Is Remus Lupin "as gay as the day is long" (as he was described in the original print of Casey McQuiston's Red White and Royal Blue) or is he a bisexual man (as unfortunately rare as they are in the literary world)? That is just one of the many questions thrown around from tongue to tongue, from text to text, in this fandom. The importance of queer representation has been established again and again in our modern world, but it has existed and prevailed within the world of the Marauders Fandom.

The pairings in this fandom range from canon, sensible and strongly backed up with evidence from the original books (like James Potter and Lily Evans), to wild, wacky and completely obscure (like James Potter and Regulus Black). However, the fandom has decided to take their own route, no longer caring what words the creator Rowling has to say about her characters. On numerous occasions, J.K. Rowling has stated that Sirius Black and Remus Lupin do not have romantic feelings for each other, and yet 'Wolfstar', as they are so-lovingly nicknamed, is one of the biggest ships in fandom history. Alongside this, after the proclamations of Rowling's transphobic views mid-2020, the fandom took a stand declaring many of the characters (especially Regulus Black) to be transgender in their eyes. Through this, the Marauders Fandom has made these characters even more relatable for those who read about them. Even more notably, they have used these characters to take a political stand - to make it clear that we must stand up for those in our society who are shoved aside and discriminated against.

Fandom culture is taking art and making it into something even more beautiful, making it something that people relate to and adore even more than they did before. While the art originally belongs to the person who creates it, once it is put out into the world it becomes open to interpretation. People project onto songs, onto books, onto art and it helps them to escape the trials and tribulations they face within their realities. After all, isn't that what entertainment is truly made as - an escape? As a result of the Marauders Fandom, we can look towards a future where fandom is no longer defined by its canon, where it becomes a group of people who love something and share creative ideas together. As a result of the Marauders Fandom, fans have the ability and the opportunity to have a sense of more artistic expression, which ultimately leads to more media and literature for us to enjoy. The Marauders Fandom is a fundamental and quintessential part of fandom history - it is a story of its own, born and bred of minuscule threads and mere sentences about interweaving characters. It shows just how we as people are powerhouses of creativity and that, as is said in Dead Poet's Society (1989): "poetry, beauty, romance, love - these are what we stay alive for".

[indignantlemur]

Larger image (STRONGLY recommended): HERE The resolution on this is painful, so I'm including detail shots below the cut.

This meeting room was furnished many centuries ago by a renowned artisan who could carve stone and shells in stunning detail, and could shape and colour glass in a way that was never seen before and has never been replicated since. He took the secrets of his techniques to the grave, dying at an unexpectedly young age in a duel with a public safety official over the seizure of a rare and extremely toxic pigment imported from a Clan to the far south. His name was Kelenthor, and he was the only Clanless to ever attain such a high level of renown and fortune purely on his artistic talent. He lived during what would eventually be called the Post-Unification Andorian Renaissance. While this artisan was alive, he had a somewhat adversarial relationship with various officials and was known to use his art as a medium to mock and criticize his social betters. He was beloved by the general populace for exclusively taking on students from the lower social classes - almost as much as he was resented by the upper classes for his habit of hiding subversive messages in his commissioned works. Regardless of where one stood with Kelenthor, none could deny his talents. If you wanted the best of the best, Kelenthor was the one to commission. As such, he was eventually commissioned to design and create furnishings for a number of rooms and even entire buildings which are now used exclusively by government officials today or otherwise preserved as precious cultural works.

This particular room is widely regarded as his best work: the walls are conspicuously and almost insultingly plain, barely carved at all. At the centre of the room lies a heavy and imposing table of solid marbled stone - also barely ornamented, save some bevelling along the edges. The surface was treated with a substance which renders the stone almost entirely impervious to damage. No matter how one might rain blows upon it, barely a scratch remains to remember them by - much like many of the politicians who have sat at this table since its creation, which many believe was the subversive message behind the thing in the first place.

The focal points are the throne-like seats arrayed around the blunt instrument of a marble table, intricately carved and inlaid with precious shell and glasswork, iridescent and shining under even the faintest rays of light. Each scatters prisms randomly around the room, illuminating the shadows and often causing quite a few headaches when meetings stretch too long. More importantly, every single one of them was deliberately carved to be as uncomfortable as possible. No one in a position of power, Kelenthor once said, should be comfortable there.

First up, courting and wedding bands! Shral and Dagmar are only courting, so they have simple rings with minimal ornamentation, with Dagmar's being modified to fit as a cuff earring.

Thoris is married, so he has two bands on each antennae. Quite often marriage bands are more decorative and ostentatious than his, but Thoris isn't one for baubles and it's bad enough he has to wear these ridiculous robes. Frankly, if he could get away with just wearing his old Guardsman uniform to these meetings, he'd vastly prefer to. As such, his wedding bands are almost incongruously plain for his rank and status.

Next up, the lady and gentleman in the foreground! These two are Ministers, and high-ranking Andorians besides, so they ornament themselves rather loudly in comparison to our main cast's more sedate preferences. The lady on the left is Minister Zaathi, who we will be meeting in-fic very soon, and she's very fond of gemstones and carved hair beads - and not afraid of losing any, if she sheer number she's wearing are any indications. It's a weighted fashion statement, if nothing else, from a woman whose home province is small and relatively modest otherwise.

By comparison, Minister Bhael - on the right - is much more conservative in his ornamentation, but his robes are heavily embroidered and that is quite a lot of Andorian silk to be toting around. A closer look will reveal that his sleeves are embroidered with an ocean wave pattern, which is particularly interesting given the relationship Andorians have with the sea. Is it some kind of political statement, or just an odd choice of attire?

If those two are making statements with their sartorial choices, then Thoris has them all beat for layered meanings.

The silvery outer robes of office are closer to a cloak than a robe, with an inner layer that is belted around the waist and a loose outer layer that is joined to the inner layer at the shoulders and seams along the upper arms. This permits the maximum range of movement for the wearer. Being made of Andorian silk, which is several times stronger than Terran silk, it is an excellent means of protection against slashing and stabbing weapons. Despite their merits, however, Thoris loathes them. They're lightweight, sure, but they're still long and ostentatious and entirely too liable to get caught on something in a real fight. Sadly, they're also mandatory, or he'd have binned them ages ago.

The vibrant blue mid-layer is a heavy material, durable Andorian silk woven through with tiny filaments of something very similar to a carbon fibre composite, providing a measure of protection against many forms of projectiles, though less so against phase weapons. The innermost tunic is more obviously armoured than the other two layers, with panels mimicking an extensive chitin pattern along the length of the torso and forearms. The sleeves in particular draw attention to a very vibrant yellow flash - much like the chitin of the predatory veeg he is known for hunting in the past.

Next we come to Shral, who is obscured partially by shadow at Ambassador Thoris' right hand - and ready to draw his ushaan-tor at a moment's notice.

This is not standard armour for an Andorian, but rather something one might wear while sparring or training in their personal time. The armour takes the form of layered, almost beetle-shell like layers, layered over a long, cowl-necked tunic. The cowl is an unusual choice for sparring attire, as it provides a potential hand-hold for an opponent - only a very arrogant or a very skilled duelist would wear such a thing while sparring.

In contrast, Dagmar stands in the light on Thoris' left. Her working attire is lightly embroidered, and features large, pearly buttons - but otherwise she's almost conspicuously plainly dressed. Hyper aware of how shockingly pink she is in comparison to everyone else in the room, Dagmar wears muted and neutral colours to try to off-set how glaringly alien she is - which, ironically, only serves to highlight her differences even further.

@the-lady-general  @starrynightgardens  @emilie786  @horta-in-charge  @emochook  @velvet-luvie  @creature-of-the-stars @unknownfacelessfanfictions @auroramagpie

[reflections-in-a-critical-eye]

Subversion of expectations in Set Me Free Pt. 2

What makes it all worth it in closely following an artist's career trajectory is having the opportunity to look at their work from various angles. In turn, that opens the possibility to make comparisons, to be able to spot the various inspirations, to see how it's positioned in the appropriate contexts. It's not an easy job, but the result is that by taking into consideration all these elements, it's possible to eventually know what type of interpretation is more suited, without making major leaps for the sake of it or turn the work into an ahistorical event.

I've been thinking all day how I should write about Jimin's pre-release track. I kept postponing it, going back to watching the music video and keeping my involvement in debates to a minimal. In actuality, and for the sake of honesty, after a few hours I was in the avoiding stage. I had thoughts here and there, but nothing that I was able to put together in a coherent way. I wrote and deleted paragraphs several times. The reason was because in the last few months I've become more interested in his projects, wanting to witness the direction he is taking which in turn affected the way I approach each topic regarding Jimin's work.

I'm saying all this because I want to point out the element of subjectivity. Which is ever present. There's no such thing as complete objectivity. It may manifest as neutral or heavily analytical statements, but underneath all that there's the obvious element of our own taste and bias. I think we can't have an honest conversation as long as we don't acknowledge that. Being biased in this context makes us protective of the artist we like, of perhaps thinking but not being ready to admit that we hold them as the highest standard in order for them to become the main point of comparison when we look at other artists. As much as I see this as an expected result of our subjectivity, I strongly believe that stating and being honest about this can make our interpretation and opinions to come from a more genuine place. Otherwise we hide behind our own notions of taste and knowledge which can lead to useless comparisons and connections between artists when that's not the case or more likely, judging a specific work in relation to some standards that have no place in the current conversation.

This is something that I have to remind myself all the time because I can be guilty of, but it's also a type of discussion that I see happening a lot in online spaces (predominantly twitter) which eventually doesn't bring anything of real value to the table.

In this context, I think it's impossible not to look at Set Me Free Pt. 2 (SMFP2 in the following mentions) as a sort of turning point. Not only the song, but the entire album. But for now, I will refer to this track because it's relevant in its connections to other major points in Jimin's career. SMFP2 closes a chapter while also setting the stage for what will come next. Not only that, it shows a versatility that sometimes it's a more relevant point in the context of releasing a first solo album, an EP in this case. The song and its visual representation can be understood in the context of what came before, specifically Lie, but also Jimin's artistic trajectory in the the last decade as a group member, his personal journey and his status and presence in the public life as an artist.

What I appreciate about Jimin's work is that it shows his ability and predisposition to storytelling. Of taking parts of his individual path and turning them into motifs, easily recognizable for the listener who has the availability to try to understand. I want to mention first Lie and Filter because both songs are representative for specific stages in Jimin's life as an artist. Lie was a cry for help and salvation, of not being able to get out of a web of lies that can swallow one whole. By the time Filter came, it showed a maturity and self awareness that came from knowing how he is perceived, of playing the part, but always on his terms. With SMFP2, Jimin doesn't need an outside force to come for help because he is finally able to do that on his own. And that only comes after years of struggle.

As much as the song is liberating, the aggressive element takes center stage. This is the song of an angry man that had enough and he can finally say and do what needs to be done. And he has only himself which makes it all the more scary because it shows his inner power and ability to endure, but also to fight back. It's a stage in which he shows that he's invincible, with lyrics such as ''I won't hide anymore, even if it hurts/I won't stop even if they mock me''. In terms of structure, the song is a conversation between Jimin who acknowledges that he reached a new stage in which he is free because he did it himself and another inner voice, the one that has to remind everyone that he is untouchable now and no meek person. Musically, this is achieved and punctuated by focusing on the hardware version – the rap part and the software element expressed through Jimin's usual vocal signature.

Instead of turning this into a step by step analytical interpretation of the lyrics and imagery, I want to discuss some elements of it through the frame of expectations and the subsequent subversion of them.

If SMFP2 being a hip-hop song might be considered a choice that apparently doesn't fully characterize Jimin or it comes as a surprise based on the teasers alone, I think it manages to show how he can adapt and make use of different genres, including those that we might not immediately associate with him. The reason why this song works is due to the heavy contrast punctuated by the insertion of a heavily artificial element. While from a matter of personal taste, the sound itself here can be quite difficult to digest, the choice makes sense because it creates a distinct voice that helps in distinguishing the two parts of Jimin that are sending different signals and which represent two sides of the story he's telling. The autotune on the rap parts makes his voice almost unrecognizable, but that also means we're seeing a clear case of subversion. That voice sounds foreign and not something we might even associate with him, but we have to keep in mind that it's the aggressive voice. The one who is sincere and clearly states he basically has no fucks left to give.

The music video was also surprising because it presented a type of choreography that is yet again different from what we would expect. And this element is crucial because of what we know of Jimin's background and his status as a dancer. A common observation/criticism is that he didn't dance as much as it would have been possible and that's a thought that also crossed my mind initially. But then I kept thinking about it and I realized that this might be a case of wanting a specific type of dancing from him and instead, receiving something else. Perhaps it should have had strictly moves for every single beat, a more complex choreography for Jimin and not what looks as him taking control over only specific parts, instead of just making some movements that look a bit uncoordinated in order to fill in the space created by the dancers. But on taking a closer look, it becomes obvious how every movement and gesture is purposeful. I see Jimin here as the one who orchestrates and leads the entire choreography, including controlling those around him. It might look like they hold control over him, as in the case of pointing their fingers, or acting almost possessed trying to take him down, but they move based on how Jimin controls the space. I think it makes a show of power, even in the moments in which on the surface it might look like the opposite is happening.

The (melo)dramatic tone of the song and especially that of the music video is achieved through the use of only a handful of elements. In this case it's interesting to note that it happens in the vein of less is more when usually the opposite is the norm. Using only one space, quite minimalist in terms of chromatic elements and lighting and camera techniques, the focus is on the choreography. It's the principal element which can only come from someone who has an established image and known for his dancing abilities. There is no need for props or other artifice in order to elevate or complement the production. The message needs to be straightforward and adding other elements would take away the attention from what is relevant. For a song that makes use of an imposing choir, brass instruments and drums, that is more than enough to convey the epic element of the story.

Ultimately SMFP2 is yet another example of how Jimin always subverts the expectations, of how there is this entire world and parts of himself that we wouldn't even think about. Yes he will rap, but he will do it in way that is unexpected. Of course he will dance, but the choreography will not be entirely like the type we are used from him. And he will have a poem of Rainer Maria Rilke tattooed on his torso which only indicates that we barely know anything about him. Of what is the spectrum of his inspiration, of what are some of his creative influences separate from what we would already expect. There's always the element of surprise and if there's one thing that I know I can expect from Jimin, is him doing more and different than what I could possibly think of.

This might be a song in his first solo album, but Jimin is starting on this path after 10 years of work. It means there's an entire baggage of experience, but also that we're seeing a new direction. Which can prove to be successful entirely, or perhaps only a first step for someone who will have plenty of time in establishing a public identity as a solo artist. I think his future looks bright, regardless if this song is exactly what we would have wished for or not.

*This post is merely an attempt at some sort of generalized view of the song and the music video. I will mostly likely talk more about specific elements in the following days if the occasion arises, probably by having conversations through asks. 

[madnessofmen]

I feel like people are misunderstanding girl dinner. It's meals you eat when you're too lazy to make a real meal. It's minimal sustenance to continue rotting alone in your bedroom. It's less about gender and more about mental illness/poor self care.

Also, shitty meals have historically been the purview of young men, at least in public consciousness, so it's quite novel to see girl dinner as a phenomenon. If anything, girl dinner shows a type of young womanhood where women are just as capable as men at disliking/sucking at cooking. There's an inherent subversion in girl dinner, that's simply not present in derivative versions of the meme like boy dinner.