#where are the stories with philosophical undertones?

[yourlocalmissingtexture]

Slamming my hands on the table sobbing about romanticizing zombies

[fractualized]

I just had the idea of a comic where batman is investigating the joker cause he was quiet for a while and batsy is ~suspicious~ and when he finds him it looks like uho! The joker is dead! But how could it be? Ensue a very serious investigation by batman with an add of tragic obsessive homoerotic undertones!

Meanwhile joker wakes up in hell (bcs ofc he does, hell is fucking canon in the dcu) and suprise! He actually wasn't killed in any epic way, just fucking, idk slipped on a banana peel and died. So joker is like "Nah fuck this. The only acceptable death is to die by my Batsy's hands." And proceeds to just, try to fucking get out of hell (and let him have fun while he's at it).

I kinda want john Constantine to make a cameo bcs I love him

Oh and I want it to be played like a black comedy

This would be a good companion story to Batman: Damned, only it's Joker we follow and it's funny and it's actually good. (And I guess instead of having full frontal nudity that later gets censored, there could first be censored nudity and then in reprints SURPRISE NAKED JOKER.)

But seriously, this is such a great idea that would work perfectly fine in an official comic. We need more Joker hijinks! Nowadays they still seem to happen mostly in comics that are their own universe (eg, One Operation Joker) or in, like, peripheral comics where maybe it's canon or maybe it isn't (eg, Batman/Superman: World's Finest #25). Whereas in the main storyline in Batman, we've got Joker pulled into grim backup personality nonsense with bonus AI art accusations.

We must end the god-mode brilliant Joker era and return to chaotic idiot Joker. It would be fantastic to see him get himself killed in the stupidest way possible, in a huge blow to his ego. The way he's able to fight his way out of hell should be stupid too, not the usual "oh he's impervious because he's the Joker and figured out a way." I was talking to @distort-opia about this, and she had the idea that it should be because Joker's name is already in the book of the dead because he died temporarily in the acid vat, and I said what if it's because he temporarily died so many times that an overworked afterlife auditor just figured he has to be dead and stamped it in. So thanks to bureaucratic confusion, Joker gets to run around looking for a second loophole that gets him back to the land of the living. And yeah, maybe he's just so obnoxious that someone calls Constantine like, "Please get this guy the fuck out of here."

Wait, oh my god. Joker is insistently pleading (haranguing) his case to everyone, going on and on about how Batman created him and they're inextricably linked, and therefore dying at Batman's hand has to be his only possible demise. And at the end, some weary afterlife Account Manager asks, "Okay, then how has this apparently amazing fighter and strategist managed to not kill you before?"

Joker's like, "Oh, that's the best part of our connection. He thinks he has a philosophical and moral obligation to never kill me. Once I'm out of here, who knows when you'd see me again!"

The Account Manager responds, "I see."

A few minutes later the Curses Department is processing a form that says Joker can literally only die if Batman kills him.

[jasminewalkerauthor]

Trope chats: immortality

The concept of immortality has fascinated humankind for millennia, often appearing in myths, folklore, religious texts, and modern literature. It evokes existential questions about the nature of life, death, and time, while exploring what it means to be human. As a literary device, immortality serves as a lens through which authors explore morality, purpose, and human frailty. However, it also comes with narrative risks, including the potential for repetitiveness or a lack of emotional stakes. Beyond literature, the immortality trope also plays a significant role in shaping societal beliefs, fears, and aspirations. This essay delves into the uses, pitfalls, and broader societal impact of the immortality trope, highlighting its continued relevance and complexity in storytelling.

The origins of the immortality trope can be traced back to ancient myths and religious stories. In the Epic of Gilgamesh, one of the oldest recorded works of literature, the hero seeks immortality after confronting the inevitability of death following the loss of his friend, Enkidu. His journey highlights the futility of escaping death, yet simultaneously reflects the enduring human desire to transcend it.

Similarly, in Greek mythology, figures like Tithonus and the gods themselves embody different aspects of immortality. Tithonus, granted immortality without eternal youth, serves as a cautionary tale about the consequences of living forever but decaying in body. The gods’ immortality, on the other hand, emphasizes their divine nature and separateness from the human condition. Immortality in these tales often reflects not just a desire for eternal life but a deeper exploration of what it means to live and die well, and how immortality complicates those values.

In many religious traditions, immortality is also connected to the afterlife. Christianity, Islam, and Buddhism each promise a form of life beyond death, whether it is eternal paradise, reincarnation, or enlightenment. The religious portrayal of immortality often carries moral undertones, where eternal life is a reward for virtuous living. Here, immortality is not inherently desirable but conditional, serving as both an incentive for moral behavior and a reflection of divine justice.

As literature evolved, the immortality trope took on new dimensions. In modern fiction, immortality is often examined through the lens of individual psychology, ethics, and social dynamics. The vampire genre, popularized by Bram Stoker's Dracula and modernized by works like Anne Rice's The Vampire Chronicles, explores the existential burden of living forever. Vampires, often cursed with immortality, grapple with isolation, moral decay, and ennui. In these stories, immortality becomes a prison rather than a gift, highlighting the human need for connection, change, and mortality.

More recently, works like Kazuo Ishiguro’s Never Let Me Go and The Age of Adaline reframe the immortality theme within the context of scientific advancement and human experimentation. These narratives question the ethical boundaries of life extension and the implications of such technological progress. For instance, in Never Let Me Go, the cloned characters are treated as vessels for immortality by others, emphasizing the dehumanizing consequences of pursuing eternal life through unethical means.

In speculative fiction, Ray Bradbury’s The Martian Chronicles and Isaac Asimov’s Foundation series engage with the idea of immortal civilizations or entities. These works extend the immortality theme beyond individuals, questioning whether societies and cultures themselves can achieve a kind of immortality through knowledge, science, or colonization of new worlds.

The immortality trope allows for the exploration of a wide array of philosophical and emotional themes, making it a powerful tool for authors. Key among these are the notions of time, identity, and morality.

Immortal characters often experience time in profoundly different ways than mortal beings, leading to a disconnection from human concerns. In works like Tolkien’s The Lord of the Rings, the Elves, who are immortal, possess a deep historical memory and an inherent melancholy, as they witness the rise and fall of kingdoms and people. Their immortality gives them a different perspective on war, love, and life itself, where events that seem monumental to mortals are but fleeting moments in their endless existence.

Immortality raises questions about personal identity over time. How does an individual maintain their sense of self over centuries or millennia? In works like Virginia Woolf’s Orlando, the protagonist’s immortality and gender fluidity are intertwined, allowing Woolf to explore the fluidity of identity over time and space. In contrast, works like The Picture of Dorian Gray by Oscar Wilde show the dangers of eternal youth, where a refusal to change or grow leads to moral and psychological decay.

Immortality often complicates ethical decision-making. Characters who cannot die may become indifferent to the suffering of others, seeing human life as transient and insignificant. This is evident in characters like Doctor Manhattan from Alan Moore’s Watchmen, whose near-omniscience and immortality alienate him from humanity, as he struggles to find meaning in life and morality. Alternatively, immortal characters might strive to use their endless time for benevolent purposes, as seen with Captain Jack Harkness in Doctor Who, who serves as a protector despite the pain his immortality causes him.

Despite its narrative potential, the immortality trope has several pitfalls. One of the major risks is that of repetitiveness. Immortal characters, particularly those in long-running series, may struggle to evolve in meaningful ways, since their inability to die removes traditional narrative stakes. This can lead to stagnant character arcs, where the potential for growth and change is limited by the character’s inherent invulnerability.

Another challenge is diminished emotional engagement. Mortality is central to the human condition, and much of a reader’s emotional investment comes from the awareness that a character's time is limited. In stories featuring immortality, the absence of death as a real possibility can lessen tension. Authors must compensate for this by introducing alternative stakes, such as the potential for emotional or existential suffering, as seen in Interview with the Vampire, where the emotional isolation of eternal life becomes the central conflict.

Lastly, immortality can sometimes lead to philosophical overload, where stories become bogged down by metaphysical debates and lose touch with the characters themselves. When immortality is used merely as a plot device for abstract musings on existence, it risks alienating readers who are more invested in narrative progression or character development.

The immortality trope also resonates beyond literature, reflecting broader societal anxieties and desires. In an age where scientific advancements, such as stem cell research, anti-aging technology, and the quest for digital consciousness, promise the possibility of extending human life, the trope takes on new relevance. It serves as a platform to explore the ethical, philosophical, and emotional consequences of such pursuits.

The immortality trope taps into the human fear of death and the desire to leave a lasting legacy. Whether through biological immortality or cultural immortality (such as leaving behind great works of art or knowledge), many people seek ways to outlive their finite lifespans. This desire for legacy is mirrored in characters who either embrace or reject their immortality, providing readers with a lens to examine their own fears of mortality.

Immortality also reflects societal aspirations toward technological progress. With the rise of biohacking, life extension research, and transhumanist movements, immortality is no longer a distant fantasy but a potential reality. However, stories that explore these themes often serve as cautionary tales, warning against the ethical and psychological consequences of altering the human condition. Works like Altered Carbon highlight the dangers of living indefinitely through technological means, from economic inequality to the erosion of empathy and identity.

In today’s society, the immortality trope intersects with cultural obsessions with youth and beauty. The growing industries dedicated to anti-aging products, cosmetic surgery, and longevity diets reflect a deep-seated fear of aging. Stories that feature eternal youth, such as The Picture of Dorian Gray, expose the vanity and moral emptiness that can accompany such obsessions, warning of the costs that come with an eternal pursuit of youth.

The immortality trope, deeply rooted in human mythology, religion, and literature, remains a powerful tool for exploring existential questions about life, death, and the passage of time. While it offers unique opportunities for examining morality, identity, and the human condition, it also presents narrative challenges, such as the risk of stagnation or diminished emotional stakes. Beyond its literary uses, the immortality trope continues to influence and reflect societal aspirations, fears, and ethical concerns, particularly in the context of modern science and technology. In a world where the possibility of extended life may one day become a reality, the trope of immortality will remain a vital means of grappling with the profound questions that define the human experience.

[ananke-xiii]

for @slutsons-blog 💖

I'll explain the genesis of this post in case anyone else is interested!

The frame of reference of the post is basically the way I see Cas from s6 unitl 15x18 which I guess you haven't watched yet? But you're on this website so I must presume you know what happens in that episode, right? It's the episode where Cas says this:

I always wondered, ever since I took that burden, that curse, I wondered what it could be? What my true happiness could even look like. I never found an answer because the one thing I want… It's something I know I can't have. But I think I know… I think I know now. Happiness isn't in the having, it's in just being. It's in just saying it.

I'm not denying the pathos of the moment and its poetry and I understand its importance in the wrapping up of Castiel's arc for s15. However, I personally have huge problems with this way of thinking about happiness. If I put my thinking cap on I'm very suspicious of that equivalence where happiness = not having = just being = just saying. I find it profoundly false and purposely vague which makes it more interesting to analyze.

Then there's the notion of "true happiness" which always makes my ears perk up because, you know, "truth" is a super loaded topic and combined with that of "happiness" you might as well have the recipe for a philosophical bomb in your hands.

What this little declaration sounds to me is very dangerously close to the famous "happiness real only when shared", the annotation that Christopher McCandless wrote next to a passage from the novel "Doctor Zhivago", a story also about a difficult love between two people that ultimately ends in death. The passage was the following:

And so it turned out that only a life similar to the life of those around us, merging with it without a ripple, is genuine life, and that an unshared happiness is not happiness, so that duck and vodka, when they seem to be the only ones in town, are not even duck and vodka. And this was most vexing of all.

I haven't read the novel so I couldn't really speak about it but it seems to me that its political aspect shouldn't be ignored given that Boris Pasternak was faced with the threat of exile by the Communist Party (among other things) upon news of being the recipient of the Nobel Prize for that specific novel.

In this light the collectivist dream of "merging without a ripple" has some serious ominous undertones, therefore "happiness" in that passage might (or might not, again I haven't read the book, I just know of its context) as well be equivalent to omologation and comformity.

Now, of course, while I don't know and forever won't know what McCandless took from that passage that made him write the "happiness real only when shared" famous annotation, I do know that in mainstream culture this has come to mean, that is that the only real, or I might just say "true", happiness is when you share life with other people or when, I might just say, you reveal your feelings to other people. Which still hasn't solved my issue: what does true/real happiness mean? what do "real" and "true" mean and how do these adjectives affect "happiness" and decide when it's real/true and when it's not? And, finally, who dictates what reality and truth are? It seems to me that the answer to the question has just been shifted but not resolved.

And I think it's not resolved because we keep imagining our society as based on lack, on the things we can't have and never will which is a phallogocentric view of the world.

This is where the "lacanian supernatural" idea of my post comes from. If you wanna explore the inner workings of my brain, more below.

I'll try to be brief which means I'll have to oversimplifly lots of stuff which means this stuff will not be properly contextualized but these French philosophers/psychoanalysts talked.and.wrote.A.LOT. and then they modified their views during the years and also it's been 7 years since I'm done with them so it is what it is, that is I hope it'll make sense.

Basically Lacan revisited Freud's works and posited that the real trauma for people is not literally related to sex but, more symbolically, to language. He used Freud's Oedipal complex to express that the paternal function doesn't mean an actual fear of castration but it's the function that imposes the Law and defines what can be desired and attained and what cannot. For Lacan, it's not about the anatomical penis, but about the "phallus" which is a symbolic signifier of lack and sexual difference. To put it bluntly, the lacanian father(s, there are actually three fathers but let's not go there for now) is what comes between the child and the mother and tells the child: you are not your mother (but "I am your father" hahahah lol little joke), in this way he makes the child desire to go back to being one with the mother and makes the child enter the world of language which is the world of the "Law" (life like it is established to be lived: norms, social relations, kinship relations etc).

Now we have a problem Houston 'cause yes, castration is not literal, cool, but it's still something that happens. According to Lacan what gets castrated is the "jouissance": the lack of jouissance is what constitutes the subject. Now, what is this jouissance, you may ask? Well, it can't be translated into English. It can be translated as "enjoyment" altough you might want to bear in mind that "jouir" in French also means "to have an orgasm", just fyi.

Here Lacan expanded on Freud's "pleasure principle" because he differentiated between "plaisir" (pleasure) and "jouissance". "Plaisir" still obeys Freud's "pleasure principle" (everything we do, we do it to obtain pleasure and avoid unpleasure) while "jouissance" is trangressive because it goes "beyond the pleasure principle". According to Freud beyond this fucking principle there's only death: in other words humans tend towards death (the death drives). "Jouissance" is therefore both enjoyment and the road to death.

In Lacan's view "jouissance" cannot be experienced because the world is ruled by the symbolic signifier of the phallus which dictates a life based on lack as per above. For Lacan jouissance cannot be reached even by sex, the jouissance in sex is just a fantasy related to body parts. Now don't ask me why but later in life Lacan started to rethink some of the stuff he said and basically he started saying that there is an "other jouissance*", which is a "feminine jouissance" that can be experienced because it's a jouissance of the body that his "beyond the phallus" (which to me seems a total contradiction of his other points but okay, I guess), but which is nevertheless an "étrange" meaning "strange" jouissance. From this "étrange" stuff he went on to play on the word as "être-ange", meaning to be an angel, to talk about asexual jouissance.

*This concept of the "other jouissance" was then used by some French feminists, notably Cixous, to describe women's sexual pleasure and, more broadly, women's ability to create and be creative (as I said I'm oversimplifying so don't come at me tumblr academics). So no more death drive talks people, this is about creation and joy and pleasure beyond the phallus.

Finally, I want to say that I don't agree with almost anything of the above, but it's still interesting to read stuff through lacanian lenses cause some of his takes are like a trip or something hahahah. Quite a few philosophers have criticized Lacan, namely Derrida because they were like: dude, even if it's not the real thing you're basing everything on the phallus, are you okay? 'Cause, like, as you can see Lacan's central idea is the "phallus" that, anatomical or not, still gives meaning to everything. This is what Derrida calls "phallogocentrism" (the centering on the phallus + logos) i.e. the Western tendency to privilege language and the masculine point of view to create and shape discourses. Other philosophers like Deleuze and Guattari in "Anti-Oedipus: Capitalism and Schizophrenia" have criticized Lacan because his theories were based on a concept of desire as lack while for them desire is very much active, present and an affirmative vital force. They have also criticized the idea of the Other (which in Lacan is the mother but, again, there technically are three mothers but, as I've said, we won't go there) as the negative difference through which the norm (the Law) is established and have advanced the notion of positive difference, aka an Other that's not a minus compared to the Law.

And this is what I meant when I wrote in the tag that Berens is my enemy because saying that happiness is in "just saying it" means that what's important is the language and the word and that's it's okay to want and not having because desire is lack and like, no dude, not at all.

Sooooooooooooo. Are you still there?

I will proceed to translate my post now LOL.

in the lacanian (= a world founded on the phallus, therefore on lack and where desire is unattainable) supernatural that damingingly lives in my head (as you can see) the one thing castiel wants and he knows he can't have is the other jouissance (women's sexual pleasure and ability to create) but he can't have it because the narrative forces him back into his incorporeal être-ange role (an angel who has no sex and no body and cannot therefore experience other jouissance) while he pretty much wants to have a body and, dare i say, suffers from a little bit of womb envy (just my headcanon that does have some solid proof because Castiel is very closely associated with mothers, births, portals, rifts and children) because that angel doesn't have a death drive but a birth drive (as I said, he doesn't want to die, he actually wants to give birth and create but the narrative, which is lacanian, says no, you can't have that so RIP, see you in your next resurrection and, btw, from s6 you're obvi also gonna be a neurotic, good luck babe!)

Wow, this was a very, very convoluted way of saying transmasc cas rights but yeah.

[ourolite]

　　　　 ༅ 𝒞irce 𝒴ué'li 𐙚 ˙

♱ all sobriquets + pseudonyms. ࿓ fang, master yuè’li, sir, sir circe, sir yuè’li, pup, puppy, circe love, circe dear, rubber bird, latex predator, leathered bird, (that fucking) raven, circo, mr.circo, circe sir, freaky fang, freaky fuck, chupacabra, hijo chupa, circe, master, lean and lovely, my string(s), selenite scholar, smart ass, sandalphon, bread and butter, cutie or clementine, philosopher friend, big guy, count yue'li, tall curled and handsome, perrito, any subtle positive adjective, circe, blind bat, weirdo, fucking weirdo, garlic breath, werewolf, (my) garlic knot (from neso <3), the werewolf, kitty litter, the guitar playing asanbosam, mr. lee, lee sir, crazy, the asanbosam, handsome, mr. munka-munka, trenchie, trench coat, renfield, you, bloody mary, beauty or beast, ma'am.

ᰍ overall notables. plays an electric guitar (named it delune). has a bloodhound named babydoll and a doberman named yìzé. works as a part-time music teacher for 2nd - 3rd graders, but recently started going to school for a career in interior design. asanbosam’s (the type of vampire he is) are more agile in trees and high places, so he’s kind of clumsy otherwise. often recommends products (notably the brand anzhong, originated by xīn’yuè ànzhōng), random organization tips, or even seasonings. considers calling off of work a lot, though he knows if he does they’re bound to fire him “this time”. circe also doesn’t socialize too much, and he’s very territorial about his home (and so is yìzé— wonder where he gets that from). he’s a little too territorial actually, seeing as circe usually sucks the blood of/eats any trespassers that ignore his precaution signs, in au’s that are mythical allowing. he does so by jumping down from a nearby tree and pinning them. (even friends get tackled if they don’t give him a heads up that they’re on the way!) ᰍ standard physical facts. 6'3. retractable wings with a 20 foot span, which are black and grey with red, pink and silver undertones, and retractable iron hooks for feet. tips of his hair turn auburn when he’s experiencing intense emotions. always smells like anzhong products- particularly colognes. has a chinese tattoo on his inner forearm that translates to damu héxián qín. his nails are painted black, but they get chipped easily because he’s really hands-on daily. lastly, he has a deep, relaxed and very distinctive voice which can be heard here!

დ genshin au notables! he’s spoken of in legends and campfire stories, but as “fang” rather than circe. legends speak of him hooking his prey from treetops and consuming them like he’s the devil herself. however, as of now this is more of a myth. he’s a clean eater, hehe. these stories originated from a period of his past where he had no control of his primal instincts, leaving him to appear as a beastly night terror to all, which he was. presently, he dwells in a custom built cottage in the forest of sumeru, peacefully enjoying his solitude and pleasures. circe has various signs throughout the terrain which warn people of trespassing; company isn’t appreciated in excess. trespassers in the forest rarely come back out alive. not many others live nearby, either. his only neighbors are xipe’va, whom his bloodhound enjoys relaxing with on the porch (his doberman, not so much). tighnari and love, who’s a minor oc of neso’s, are somewhat nearby though, performing their forest ranger duties and such, so he hangs with them now and again. he’s also good friends with jihane, whom lives in sumeru city and often discusses philosophy with him. oh, and his two boyfriends, indigo and xīn’yuè, live in liyue and inazuma respectively.

დ spider-verse au notables! n/a (temporarily).

დ studio ghibli au notables! his position here depends on the movie, so i won't describe each one here, as it's not all definitive due to my experimental nature. he'll more than likely be written in tales from earthsea, the wind rises, howl's moving castle, and my neighbor totoro.

დ modern au notables! he’s currently going to school at a local trade school in california. he lives in xīn’yuè’s penthouse with him and indigo, as well as blumei, maju, babydoll, yìzé, and (once in a while) yúyīn. he sleeps in with indigo whenever he can and enjoys quiet mornings where the girls are at school, the dogs don’t have any zoomies, and everything from the cleanliness of him and the house to the smell of his coffee is just right. however, xīn’yuè is always forcing him to go to work, scolding his lethargy and indigo’s encouragement of it. luckily, no one has to remind circe to be on time for his interior designing classes, as he’s genuinely passionate about it. since he’s not a vampire here, and instead just has traits that resemble a vampire, circe enjoys halloween and spooky themes. he also bites his lovers when bored, was naturally born with his canines being pointer than usual, and is scarily skilled at climbing and maneuvering on the monkey bars or climbing trees. he loves evening/night walks, partially because his skin is still sensitive to excessive heat. the california sun will provoke an eczema-like condition just like in mythical au’s but to a normal extent. he’d rather get caught in the fricking rain.

დ jujutsu kaisen au notables! n/a (temporarily).

ᰍ age appearance. twenty-five (25). ᰍ birthday. may 9th. ᰍ nationality, race, + ethnicity. (varies per au), asanbosam, + senegalese and chinese. ᰍ gender, prns, + sexuality. male (amab), he/him, + omnisexual.

ᰍ sun sign. taurus. ᰍ MBTI. istp-a, the assertive virtuoso.

ᰍ likes. his electric guitar (delune— yes, he named her); playing the guitar is considered his biggest hobby, adoration and talent. his old doberman, yìzé, and his bloodhound babydoll. his cottage. alone time. blood oranges. ironically, loves garlic bread + garlic based dishes (especially pasta). scaring trespassers, or making his friends jump with jump-scares and shoulder-taps for a good laugh. coal black, wine red, and sometimes pink! strawberry icecream. philosophy and sacred music, especially within the selenian race. feminism. boots. silver jewelry. having his hands in aesthetically pleasing positions (pockets, behind his head while laying down,arms crossed, etc). anzhong products. people who use manners. sweethearts, but especially male sweeties (he just wants to pinch their cheeks ugh). MOTHAFUCKING INDIGO and MOTHAFUCKING XĪN! ᰍ dislikes. random space invaders/leeches. too many home guests (or any really). yellow. stalkers/yanderes/yandere-coded people (specifically when targeted at him). pushy people. paranoia, pessimism + assumptions. difficult/slow learners (as a music teacher he struggles with younger kids that don’t process so easily). jellies and jams. the taste of vanilla. misogyny and misandry. bad hair days. getting stuff under his nails, especially when freshly done. vengeance, gossip + untrustworthiness. cooking for people, especially when there’s a lot of em’— no, even worse if they’re too picky.. bicycling. hot, summer days. being caught in the rain without a stylish umbrella. loud noises. dogs that bark too much. explaining/over-explaining himself.

･ﾟﾟ❥ quotes.

After It Rains ୨୧ “Jeez, what a mud bath. *Looks at his dogs.* Glad you two are out of your piglet puppy days heh heh. Guys? *Theyre walking away from him and he’s holding back laughter.* Was it something I said? Come ahhnn! I’m saying you liked the mud!”

About Jihane ୨୧ “The last time we spoke she foretold that my aura was yellow indefinitely. She was wrong. .. It’s red. *Looks off at something in the distance and pauses.* I’m not delusional.”

About Circe: Signature Dish ୨୧ “Nah. That’s a myth, just a little misconception. I use garlic in a lot of my dishes, especially pasta. The best kind I’ve tried thus far? Cherub Sin, easily. It’s a faultless dish. I personally believe the best noodle for any garlic and parmesan pasta is angel hair, and that dish recognizes it perfectly.”

Good Night ୨୧ “Hm.. Remember the night routine I showed you. Ice. Your. Face. Top priority, right? Alright then, and I bid you goodnight. *Nods off salute-like with two fingers and walks away.*”

oc masterlist. extended details. visualizer. character ai.

⑅ leman productions. all rights fucking reserved, do not plagiarize.

[augustuspadua]

The Art of Resistance: Iranian Cinema

A Cinema of Contradictions

Iranian cinema is one of the most unique and complex film industries in the world. It is a cinema of contrasts, where beauty and brutality, tradition and modernity, oppression and resistance coexist. Over the decades, Iranian filmmakers have created a rich body of work that has garnered international acclaim, winning numerous awards at prestigious festivals such as Cannes, Venice, and Berlin. However, behind the accolades lies a story of struggle, censorship, and defiance.

The Origins of Iranian Cinema

The history of Iranian cinema dates back to the early 20th century, with the first known Persian film, Abi and Rabi (1930), directed by Ovanes Ohanian, an Armenian-Iranian. However, it was not until the 1950s and 1960s that Iranian cinema began to develop its own identity. This period saw the emergence of films that addressed social issues, often with a critical lens. Filmmakers like Ebrahim Golestan, Forough Farrokhzad, and Darius Mehrjui challenged the conventions of mainstream cinema, exploring themes of alienation, poverty, and the human condition.

Darius Mehrjui’s The Cow (1969) is often cited as a turning point in Iranian cinema. The film, which tells the story of a poor villager’s obsession with his beloved cow, was a stark departure from the escapist melodramas that dominated Iranian screens at the time. The Cow was not only a critical success but also paved the way for a new wave of Iranian filmmakers who sought to use cinema as a tool for social commentary.

The Iranian New Wave

The 1970s saw the rise of the Iranian New Wave, a movement characterized by its focus on realism, symbolism, and the exploration of social and political themes. Filmmakers like Abbas Kiarostami, Bahram Beyzai, and Mohsen Makhmalbaf emerged as leading figures of this movement, creating films that were both artistically innovative and deeply reflective of Iranian society.

Abbas Kiarostami, in particular, became one of the most internationally recognized Iranian directors. His films, such as Where Is the Friend’s House? (1987), Close-Up (1990), and Taste of Cherry (1997), are known for their minimalist style, use of non-professional actors, and philosophical undertones. Kiarostami’s work often blurred the lines between fiction and reality, challenging audiences to reflect on the nature of truth and the human experience.

Mohsen Makhmalbaf, another key figure of the New Wave, is known for his politically charged films that critique the Iranian government and society. His early works, such as The Cyclist (1987) and Time of Love (1991), dealt with issues like poverty, exploitation, and the role of women in Iranian society. Makhmalbaf’s films often faced censorship and were sometimes banned in Iran, but they gained significant recognition abroad.

Despite the creative flourishing of the Iranian New Wave, the 1979 Islamic Revolution brought about significant changes to the country’s film industry. The revolution led to the establishment of the Islamic Republic, and with it came strict censorship laws that sought to align cinema with the new regime’s ideological and moral values.

Cinema Under the Islamic Republic

Following the 1979 Islamic Revolution, Iranian cinema underwent a dramatic transformation. The new regime imposed strict censorship regulations, banning films that were deemed un-Islamic or politically subversive. Filmmakers had to navigate a complex web of rules and restrictions, which dictated everything from how women could be portrayed on screen to what subjects could be explored.

Despite these challenges, Iranian filmmakers found ways to continue creating meaningful and impactful cinema. They developed a unique cinematic language that relied on symbolism, allegory, and metaphor to convey messages that could not be expressed directly. This period saw the emergence of films that subtly critiqued the government and highlighted the struggles of ordinary Iranians, often through the lens of children or marginalized individuals.

One of the most iconic films from this era is The White Balloon (1995) by Jafar Panahi, a former assistant to Abbas Kiarostami. The film, which tells the story of a young girl’s quest to buy a goldfish for the Iranian New Year, was praised for its simplicity and depth. Panahi’s work often explores the lives of ordinary people, particularly women and children, and subtly critiques the social and political realities of life in Iran.

Panahi himself became a symbol of resistance when he was arrested in 2010 for his outspoken criticism of the Iranian government. Despite being banned from making films, he continued to create powerful works in secret, including This Is Not a Film (2011), which was smuggled out of Iran on a USB drive hidden inside a cake and screened at the Cannes Film Festival.

The agonies faced by Iranian filmmakers are multifaceted. Censorship is perhaps the most obvious challenge, as directors must constantly navigate a labyrinth of regulations that restrict their creative freedom. The government’s control over cinema extends beyond content; it also includes the distribution and exhibition of films. Many Iranian films are banned from being shown in their home country, and filmmakers often face the risk of arrest, harassment, or exile for their work.

For example, Mohsen Makhmalbaf, who was once imprisoned for his political activism before the revolution, eventually left Iran due to the increasing pressures on his artistic freedom. He continued to make films abroad, exploring themes of exile, identity, and the Iranian diaspora. His daughter, Samira Makhmalbaf, also became a prominent filmmaker, known for her films The Apple (1998) and Blackboards (2000), which deal with issues of gender and education in Iran.

Another filmmaker who has faced significant challenges is Asghar Farhadi, whose films A Separation (2011) and The Salesman (2016) both won the Academy Award for Best Foreign Language Film. Farhadi’s work is known for its complex characters and moral dilemmas, often set against the backdrop of contemporary Iranian society. Despite his international success, Farhadi has faced scrutiny and criticism from Iranian authorities, and his films have sometimes been censored or banned in Iran.

Iranian actors also experience their own set of struggles. Actresses, in particular, face stringent regulations regarding how they can appear on screen. Women are required to wear the hijab in all public scenes, even in situations where it would not be culturally or contextually appropriate. This has led to creative challenges in storytelling, as filmmakers must find ways to depict relationships and emotions within these constraints.

Despite these restrictions, Iranian actors have delivered powerful performances that have resonated with audiences around the world. Leila Hatami, who starred in A Separation, is one of Iran’s most acclaimed actresses, known for her ability to convey deep emotional complexity through subtle, nuanced performances. Her work has earned her international recognition, but she, like many of her peers, must constantly balance her artistic ambitions with the realities of working under a repressive regime.

Resilience and Legacy

Despite the significant challenges they face, Iranian filmmakers and actors have shown remarkable resilience. Their ability to create profound, thought-provoking films within the constraints of censorship and repression is a testament to their creativity and determination. Iranian cinema continues to be a powerful voice for social justice, human rights, and artistic freedom.

One of the most significant contributions of Iranian cinema is its ability to humanize the people of Iran, offering a counter-narrative to the often negative and simplistic portrayals found in Western media. Through their films, Iranian directors and actors have shown the world the richness and complexity of Iranian culture, as well as the struggles and hopes of its people.

The legacy of Iranian cinema is also evident in its influence on global filmmaking. The minimalist style, focus on realism, and use of symbolism that characterize much of Iranian cinema have inspired filmmakers around the world. Directors like Abbas Kiarostami and Asghar Farhadi have become influential figures in international cinema, with their work studied and admired by filmmakers and critics alike.

As Iran continues to navigate its political and social challenges, its filmmakers remain committed to telling stories that reflect the realities of their society. They continue to push the boundaries of what is possible, finding new ways to express themselves and connect with audiences, both at home and abroad.

The future of Iranian cinema is uncertain, but one thing is clear: the spirit of resistance that has defined it for decades is still very much alive. Iranian filmmakers and actors continue to face significant obstacles, but they also continue to create some of the most compelling and thought-provoking cinema in the world.

As new generations of filmmakers emerge, they bring with them fresh perspectives and new ways of navigating the challenges of working in a repressive environment. The global recognition of Iranian cinema is a testament to the power of art to transcend borders, challenge oppression, and inspire change.

In the face of adversity, Iranian cinema remains a beacon of artistic excellence, resilience, and hope. It is a reminder that even in the darkest of times, the human spirit can find ways to create beauty, tell stories, and speak truth to power.

[floatingcatacombs]

On Reading Yuri with a Death Wish

12 Days of Aniblogging 2022, Day 1

This essay will discuss suicide.

Existentialism is the study of why you shouldn’t kill yourself. This is a noble pursuit, because I’m never sure what to do with the philosophers who commit suicide, if that act retroactively invalidates their theories or not. (Hegel, on the other hand, died sane but has driven more philosophers to madness than any other individual)

What I mean more specifically is that a lot of existentialist texts and theories are rooted in the anguish that humans alone face due to our consciousness. We’re talking depression, despair, and existential angst. In this way, existentialist writing serves as a therapy workbook, a reminder that individuals are wholly responsible for their own actions, which includes finding meaning, personal values, and contentedness. Of course, an absurdist would say that there’s no point to searching for any of that and only through giving up can we be free to truly live, but it’s all in the same spirit.

These deeply human themes lend themselves well to art, and anime is no exception. Unfortunately, most of these attempts are pretty trite. How often do you put on an show only for it to get fake-deep during the narrative climax by reciting a bunch of out-of-context philosophy? We can punch down at Death Note all day if we want, but there definitely is anime and manga out there that actually succeeds in weaving an existentialist core. Being who I am, I particularly care about the stuff that does it through the lens of yuri, and well.

Otherside Picnic is one of these works, if you ask me. One thing that reveals itself very quickly, especially if you’re reading the novels where Sorawo’s thoughts are on full display, is that our main character is downright suicidal. She’s rescued from an early watery grave by future love interest and partner-in-crime Toriko, who makes a quip about her looking like the drowned Ophelia. Sorawo is familiar with the Millais painting from reading a Wikipedia article, but not Hamlet itself, which serves as a great early example of her encyclopedic strengths and shortcomings, as well as the author's tendency to source from the internet. The two quickly become well-acquainted (partners-in-crime, even!) and set out to explore the mysterious Otherside they’ve independently stumbled upon, which is rife with monsters straight out of scary stories passed around on 2channel.

my eternal rival, Ms. Boston Dynamic, makes an appearance

Once the premise of a slowburn yuri like this is set up, the author usually throws an obstacle in the way of the relationship to prevent things from working out immediately. If said author is a hack, it’s a romantic rival, in the worst-case scenario a childhood friend. Sometimes it’s a miscommunication, where the girls treat the blossoming relationship differently and don’t realize they’re seeing past each other. Sometimes it’s life circumstances, like the girls going to different schools or having different social standings. And sometimes, it’s because one of the girls has something deeply wrong with her. Ideally both.

As it turns out, Toriko has just as much of a death wish as Sorawo. She hides it better at first, by being a manic pixie Canadian gun otaku dream girl, but the sheer desperation and denial present in her search for her old mentor quickly comes into focus. She’s lost someone close to her and is throwing herself into dangerous situations because it’s easier than facing her grief.

There’s a stretch of the series where Toriko and Sorawo are in a rocky patch over the exact issue of Toriko’s mentor Satsuki and whether seeking her out is worth it (with the undertone of Sorawo trying to figure out if Toriko actually likes her or is just using her to help find Satsuki). This manifests as the two of them throwing themselves into the Otherside again and again, with less, more quarrelsome recovery time between each stint. They start drinking more and more irresponsibly in their post-expedition celebratory dinners they start. All of this culminates in the Otherside starting to come to them instead of the other way around.

For all of creepypasta set-dressing, this is the one part of Otherside Picnic where there’s genuine terror and dread. If you don’t have enough anchors to the real world, you’ll lose yourself for good in there, as Sorawo gets warned a handful of times. Obviously this is meant to frame the Otherside in eldritch horror terms, but to me it brings it closer to representing suicidal ideation. Hell, a few times Sorawo finds herself drawn into Otherside specifically because of her harmful thoughts. When she’s mentally at her worst she keeps inadvertently ending up there – and the monsters are trying to get her to cross the point of no return. It’s barely even a metaphor at times.

So yeah. Can’t get away from the Otherside, can’t give in to it. Sorawo and Toriko are left to just…learn to live with it. After buying a tobacco harvester on a drunken bender (long story) the two of them start to chart out rudimentary roads, establish supply bases, and do plenty of small construction jobs to make the place just a bit less hostile. It’s all very Minecraft, which Sorawo just flat-out says at one point. This aspect of Otherside Picnic is definitely indulging Miyazawa’s hobbyist tendencies in the same way that all the creepypasta and gun otaku stuff is, but it also establishes a certain kind of coping. Though Sorawo and Toriko keep finding themselves in dangerous situations, the sense of dread never returns to the narrative in the way that it does in the early sections. These later volumes are definitely a bit less interesting, but you can only give your characters an absolute death wish for so long before it gets stale, and something of an iyashikei atmosphere emerges as a periodic counterbalance. Life must go on, even with the absurdity of SCP monsters hunting you and your kinda-girlfriend down.

shoutout to the offhand remarks these girls make to each other. the weirder they are, the more genuinely romantic

Have I mentioned how fun of a protagonist Sorawo is? She’s a subculture weirdo with a poster’s soul, she’s a walking encyclopedia of 2channel netlore, and her sense of reality is so distorted that she takes truly terrifying events at face value and gets lost in the details on regular human relationships. She’s something of an accidental lesbian chad, getting Toriko to go from leading her on to falling desperately in love with her without even really trying. She’s got unprocessed childhood trauma straight out of a ghost story, which gets weaponized to scary effect down the line. She makes the most baffling offhand remarks. And her dry wit is a perfect fit for the narrative, which, like I said earlier, is at its best in the novels where we get to spend more time in her headspace.

It's out of character for me, but I haven’t actually talked much about the yuri parts of this yuri manga. I’m save that for the second part of this writeup, alongside the elephant in the room: author Iori Miyazawa’s ‘yuri of absence' interview. I’ll wrap up my Otherside Picnic talk by saying that the anime adaptation is pretty terrible, failing to understand everything I’ve been talking about up until now by changing the pacing to that of an action series. The manga, on the other hand, is quite good, with some especially interesting panel composition during the more surreal moments. It’s worth a look, but you’re ultimately best off reading the original novels.

I want to bring up another philosophical yuri manga I read this year, Shimeji Simulation. It’s definitely on the absurdist side of things, but that doesn’t become apparent until you’re further in. What we get in the opening chapters is pure depression-core, exactly as expected for mangaka Tsukumizu, whose previous works include Girl’s Last Tour and the Touhou doujin Flan Wants to Die. Our protagonist is a driftless shut-in who hasn’t been to school in two years after something unspecified and traumatic happened to her in middle school. She scrapes together the will to go to school this year, and makes fast friends with a classmate who has a giant fried egg on her head. Fast girlfriends even, though it’s unclear what that really means for the two of them.

I’ve found that Shimeji Simulation is difficult to pitch, so I’m just going to write about my favorite character: Mogwa, the depressed art teacher. She moonlights as the club advisor and only active member of the “hole-digging club”, a club that…digs holes. When asked why, she starts waxing philosophically about the absurdity and futility of the act. With each following chapter she becomes further obsessed with hole topology. When Shimeji’s sister develops a boring machine, Mogwa falls into despair. Evidentially, her digging had become deeply important to her regardless of its uselessness, and a machine doing all the digging for her sapped all the joy out of it. She lets herself slip into the seemingly bottomless pit, only saved from her fate by someone with nigh omnipotence.

The thing I love the most about Mogwa is how she’s a clear manifestation of the Myth of Sisyphus. She condemns herself to a futile impossible task, and this ends up becoming the very thing keeping her going. Only through accepting absurdity can she be truly free, and the opposite when her self-made purpose is pulled up from under her.

Buried away in the depths of Dynasty-Scans is a prequel comic to Shimeji Simulation that shines a light on the whole comic, and why it’s so strange, contemplative, bleak, and snarky all at once. I’m not linking it because it’s pornographic and more than a bit questionable, but the gist is that in middle school, Shimeji’s only friend had sex with her and then inexplicably killed herself the night after. That’s it, end of one-shot. It’s a cruel joke. Even disconnected from the published manga itself, this suicide casts a very long shadow, making the whole of Shimeji Simulation a “well…now what?” affair.

It’s why the characters in this manga are so willing to invoke philosophy, and ultimately to take the plunge into total surrealness, irrevocably writing over their world to create a weirder one. This act is self-detournment and a fitting spin on Tsukumizu’s typical depressing yuri, the fantasy of a world which responds perfectly to our desires. It’s existence preceding essence made literal, an ultimate reminder that humans are responsible for their identities and must continue to live, so they have the freedom to keep making choices and acting upon the world.

possibly one of the best pages of manga out there, period

This was a difficult and disjointed article to write, and recent personal events have made it harder yet also more necessary to get out. Next time, I’m going to talk about Otherside Picnic again, but from a different perspective: yuri and the act of authorial self-abnegation. 

[talesfromtheunknowable]

I think you're the kindest sweetest most imaginative soul I know! I love your little universe and the fact that you've been with it for so long is so wholesome!! I love the different blogs you have and I would love to understand Anuli more! Fae are absolutely adorable and I relate to faer philosophy so like please I will absolutely fan around your finished WIP :D

ALSO the fae pronouns are so creative and it adds on to the magical finding yourself undertones of The Land of the Fallen Fairies! I love them a lot

- Anonymous ;D

THAT MEANS SO MUCH TO ME THANK YOU SO MUCH <3

(I don't know how to communicate how I stop and smile at each and every ask. How it makes my nights of worrying and frantic rewrites, hoping to the stars that this turns out nice. How it casts my internal world, the majority of myself that honestly is my sanctuary in such a wonderous way that I loose any words to express that feeling.

But I can say thank you.

So thank you. It's absolutely wonderous,)

And as for Anuli:

Anuli character sheet <- Basic info and little fun facts

'How did Anuli come to be?' <-- Original character sheets and general LotFF iterations

Lot's of info on Human AU's, Anuli and Kamari, and a philosophical infodump <--- has some more 'philosophical' Anuli info

General tag

ANNNDDD: @imjusthereforeternity

Anuli in general was supposed to be a character that is (a) easy for me to write - so not a ton of actions and as many thought processes as I can get - and (b) represents that need to chase happiness, to fix yourself so you deserve that happy ending.

And part of that is because of stories themselves.

Little me trying to navigate a world they didn't understand found that stories were... not a perfect framework, but by stars did they help. How to be funny. How people think. And most importantly, WHY. Why any of it works the way it does.

And yet, both stories, and the entire universe, told me that 'good things happen to good people'. That those who have a certain attitude, that those who believe certain things or have a certain lifestyle or go through a certain arc will have that whimsical happy ending I wanted so bad, it hurt.

Anuli was my companion, in every time I cycled over to the beginning, throughout all of it. It got to the point where I would accidently call myself 'Anuli' in my head because at times, when I needed a coping mechanism, life was simply story fodder.

... That was a slightly unrelated rant.

Anywho! Anuli's philosophy and internal dynamics.

Anuli does not remember faer tree, or being tethered. Just that fae has been tethered, for as long as fae could remember.

(This is definitely not because I didn't want to write these parts because it was boring in previous iterations... totally not. /j)

But at least fae had stories. Stories, and Kamari. The Place of Tethers may be a villain out to get faer. It may have bright captured stars that scream throughout the night in static, but Anuli has stories. Fae has Kamari. Anuli would have a happy ending someday, because of Kamari. Kamari promised. Fae promised.

And Anuli had glimpses of the happy ending already. Fae knew what it would be like, for fae had already felt that sort of elation. All fae needed was for faer tether to be broken, for the Place of Tethers to be vanquished forevermore.

And Kamari promised. Anuli had Kamari, so it would be okay. The Place of Tethers was bearable because Kamari was there.

...

So anywho, Kamari disappeared for a day.

(I'm probably going to fix bits and pieces of this draft, since it's the first thing I've written for this iteration, and it was difficult for perfectionistic me. Kamari probably told Anuli that fae may be gone for longer and Anuli would get distracted in preparing a story to tell Kamari that fae forgot that Kamari wouldn't be there.)

And Anuli ended up breaking faer tether.

Great!

Fae defeated the antagonist. The Place of Tethers was gone. They had a happy ending now! Kamari would be ecstatic.

Kamari was not, ecstatic.

All this is to say that Anuli had a happy ending before, and fae didn't truly enjoy it because fae thought it might get better.

Then fae ruined it.

And fae's been chasing that happy ending, what fae had before, what fae could've had if fae had just waited, if fae wasn't a fallen fairy, ever since.

This is that sort of 'I CAN FIX ME' that Anuli runs by.

Villains don't get happy endings unless they have redemption arcs. If Anuli had a redemption arc, if fae could only get rid of all the bad parts of faerself....

ALSO ALSO!

I want to try to make the bulk of the Land of the Fallen Fairies fairly episodic, so I can explore a different aspect of this concept each 'episode' and leave myself open to writing as I please.

So I want to try out different episodes. Specifically, 'metal adventure ones', like those where you split yourself into all the different aspects of your personality?

That, but Anuli tries to 'rid' of all the 'evil ones'

And the 'fix your past' episodes? Not time travel, but 'change your memories so they don't bother you anymore.'

The opposing aspect of Anuli is the 'I waste love' part.

And I always have the hardest time describing this in a way that feels how it is in my head. It's not 'hurting others'... more so 'not being able to repay them', they have sacrificed their lives, their time, all their love, for your betterment, for your happy ending, and all you give them is regrets.

And they will feel betrayed by that.

They should hate you for that.

But no, they still want you to get better, they still love you.

And that hurts more than anything else.

So Anuli's character becomes this contradiction of 'wants to change self for a happy ending' and 'me being around others... forget about happy... would ruin everything.'

WHICH BRINGS ANULI TO STORY CYCLES.

It gets worse and better then worse again. An aha moment that unlocks a so-close-to-the-happy-ending one day, then a dark night of the soul the next.

Because stories are by no means linear. There is regression at times... as painful as that can be to admit, and that 'trying to tame your garden' is absolutely exhausting. At that point, is happiness - this abstract unknowable feeling - worth it anymore? Especially when it feels so strained, so empty, on the rare occasions fae does feel it.

All I can offer to this is that... it's a garden, it's a story. It will cycle, all of nature does that. Stories end right after the happy ending, and you have to find another story. And that... well their cycles are not as painful as life itself, because by no means are you a character, you're just reading.

Life could be like that too.

---

As of the current arc of @imjusthereforeternity, Anuli thinks that its faer nature for faer stories - and faer life - to spiral into darker, more morbid storylines. THANKFULLY.

OUTLINES.

(I went on the planning obsession and sold my soul to the underworld trying to follow it to a T, so this will be fun.)

And Anuli keeps making disclaimers, these are new beings, they can be saved. If they are warned, they can be saved from trying to want anything from Anuli, from rooting for the antagonist.

Hopefully.

The archives excite Anuli quite a bit, fae's fixing faerself, this will work! Fae will never have to be an antagonist because Kamari's having faer happy ending and Anuli is completely rewriting faerself to follow these outlines.

I mean, sure, fae's having trouble getting faerself to do some of the things, and is getting distracted by other ventures, but the outlines will stop anything from getting too plot-ruining.

It has to.

---

Thank you again for the ask! I'm so so glad you like the Land of the Fallen Faires.

[nm-solitude]

Defining dark academia.. Merely an aesthetic? A movement of neo-aestheticism aching for educational equity and the pining of the second enlightenment.

By all means and measures.. I doubt that I am necessarily able to meld philosophic intentions with what I have understood of reading some texts to come out of this trend but I wanted to see what peoples thought were on it. I feel there are two kinds of reasons we read, for the escape and for deep consideration. In my little life, I feel there are many that see novels as little less than for it's vivid prose than it's deeper intentions and questions. Once books were an invite to consider the world more deeply and fantastical, fictional realms were outcries that touched the tender hearts of humans to inspire change... In the current circumstance, I wonder how many people consider books in such a light- and I think this is where I feel at odds with dark academia. Or rather with certain stories that are attributed to it. In western fiction is notable that every literary age (romanticism, absurdism, modernism etc.) were a neater snapshot of the times and feelings at play. 'Frankenstein' by Mary Shelley as contemplation of the rise of feminism and of the intermingling of nature with industrial movements with an ending that drives a need to reconcile our own position in both. Or for example, 'Waiting for Godot' by Samuel Beckett, where two men wait in the middle nowhere for someone to finally come along, was written post World War 1. Bloody as many wars were, it is in fiction that we find the awareness of the undeniable horror of it in the eyes of its soldiers and shambling families along with human hope and progress for the better. There's modernism too, the likes of T.S Elliot etc. And there's us in the present. There is a love to be found in the aesthetics we craft in this time of post modernism. A yearning to be more and or to be away from the confines of grey cities, trains and bills. To have our feet in the yellow sands of a coastal area, hair brushed by the tender hand of the wind and the skies a mottled blue as they meet with the sea as you cast your gaze to the sea. A mottled blue and not a plain blue because I prefer tactile drumming of the rain. In this, I believe that our redefinition of aesthetics to be more of a vibe- this neo-aestheticism is a symptom of escapism. And it is in this that I can't help but feel that works born in these aesthetics are different to these literary ages in a sad fundamental way. Where is our change? Dark academia is defined by a venture into the intellectual realm, one associated with extravagance, undertones of elitism and enlightenment. In the convergence of knowledge, there is madness and suffering in its pursuit. 'The secret history' by Donna Tartt covers such notions although I wonder if in the post modernist era- the lack of urgence to do something about our current circumstance is lacking. Written in light of American schools with the lingering ideology of British universities and education being less and less of a manner than individual growth than how one makes best use of a system that demands it's cogs... It's resurgence and popularity in 2020 makes me feel ill-giving towards educational systems that fail to first and foremost nature a generation that cares for its world.. I don't exactly know what to really ask opinions on. But I wonder how other people feel about all of this?

[gmqazi19739]

Master Manzoor - Bio, Top 22 Best Sindhi Folk Music

Master Manzoor, the beacon of Sindhi folk music captivated the audience with his soulful melodies and touching lyrics. His music resonated deeply with the Sindhi community, creating a deep connection to his musical and cultural identity. As a social media and television celebrity, Mr. Manzoor’s impact on Sindhi music and culture is unparalleled.

Best Master Manzoor Sindhi Folk Music Download

Biography and Early Life  Master Manzoor was born in Shahdadkot district of Sindh. From a young age, he was immersed in the world of music, thanks to his father, who was an accomplished music teacher. This early exposure laid the foundation for his musical journey. He pursued his education in Dadu and later graduated from the University of Karachi in 1997. His academic journey paralleled his growing passion for music, which eventually led to a career in the industry. Rise and make a name for yourself In Master Manzoor’s first foray into music, he performed at local functions and weddings, where his talent soon caught the eye. His big break came with performances on Sindhi private TV channels like KTNTV, Kashish TV, and Sindh TV. These platforms gave him the exposure he needed to reach more people, and soon, his popularity soared. Music style and influences Master Manzoor’s repertoire was diverse, encompassing Sindhi pop, classical and folk songs. His musical style was a harmonious blend of traditional and modern elements, heavily influenced by his father and other leading musicians of his time with this unique combination he was able to create a unique sound that raised the appeal of younger generations and traditionalists. Major accomplishments Throughout his career, Mr. Manzoor released many hit songs that left an indelible mark on Sindhi music. His incredibly emotive songwriting and lyrics have earned him wide acclaim and accolades. He has become a household name, and his music is a staple at cultural and social events. Significant Songs and Lyrics Master Manzoor’s discography includes many outstanding songs, each with its own story and influence. "Sacho Ishq" This song, translating to "True Love," is a poignant exploration of deep emotional connections. Its heartfelt lyrics and soothing melody made it an instant favorite among listeners. "Naseeb" "Naseeb," meaning "Fate," delves into the complexities of destiny and life’s unpredictability. The song's introspective nature and philosophical undertones resonated widely with audiences. "Dilber Aayo" This romantic ballad celebrated the joys of love and companionship. Its infectious tune and relatable lyrics contributed to its widespread popularity. "Sehra Wedding Songs" A collection of traditional wedding songs, "Sehra" encapsulated the celebratory spirit of Sindhi marriage ceremonies. These songs became a must-have at weddings, further solidifying Master Manzoor's cultural impact. "Tohinjoon Yadoon" Translating to "Your Memories," this song is a melancholic reflection on longing and remembrance. Its emotional depth and lyrical beauty made it one of Master Manzoor's most cherished works. Career and career highlights Master Manzoor’s career saw several memorable performances. He captivated the audience with his lively stage presence and soulful voice. Performances with other artists and musicians further enriched his musical offerings, bringing influences to his work. Influence on Sindhi Pop Music Master Manzoor played a pivotal role in shaping Sindhi pop music. His innovative approach and ability to blend genres sets new dimensions for the genre. He inspired countless young musicians to explore and embrace Sindhi music, ensuring its continuity and growth. Heritage and Cultural Influence Even after his untimely death, Mr. Manzoor’s legacy continues to thrive. His music continues to be an inspiration to his fans and fellow musicians. He is known not only for his artistic contributions but also for his role in preserving and promoting Sindhi culture. Tragic End In April 2012, the news of Mr. Manzoor’s death rocked the Sindhi songs world. He was found dead at his home in Qasimabad, Hyderabad, and his death marked the end of an era. The community mourned a beloved artist whose music touched countless lives. History of Sindhi Traditional Music Sindhi music is characterized by its two main sub-genres: bait and wae. The deception is usually done in a loud voice, while the wae is sung in a low voice. The traditional music of Sindh owes a great debt to the works of Shah Abdullatif Bhitai, whose music is divided into 30 Surs or chapters, covering the essence of Sindhi's musical heritage. Modern Sindhi Music Scene Contemporary Sindhi music is a tight blend of traditional and contemporary influences. Social media plays an important role in promoting Sindhi music, enabling artists to reach a global audience. These changes led to a resurgence of Sindhi music, with the emergence of new talents and the rediscovery of classical genres. Other famous Sindhi artists Known for his soulful Sufi music, Abida Parveen stands as another towering figure in Sindhi folk songs. While his style differs from Master Manzoor’s pop-folk orientation, both artists have a deep commitment to their cultural roots. Their contribution has been immense in elevating Sindhi music to the national and international stage. The Future of Sindhi Music The future of Sindhi music seems promising, with a new generation of artists taking up the mantle. These musicians find new ways to blend traditional sounds with contemporary genres, ensuring that Sindhi musical heritage is preserved and developed Efforts are on to record and preserve traditional songs, giving a valuable resource to generations as it will be in the future. Conclusion Master Manzoor’s journey from a music-loving boy to a renowned icon in Sindhi classical music is a testament to his talent and dedication. His contributions have left an indelible mark on Sindhi culture and inspired countless others to follow in his footsteps. Although he is no longer with us, his music continues to resonate, a lasting legacy from a remarkable artist. FAQs Q1: What has made Master Manzoor’s music stand out? Mr. Manzoor's music was unique for his fusion of Sindhi traditional elements with contemporary genres, which appealed to both the older and younger generations Q2: How did Master Manzoor influence Sindhi pop music? He introduced new musical techniques and musical themes that resonated deeply, inspiring many young musicians to explore Sindhi pop music. Q3: What are some of Master Manzoor’s famous songs? His popular songs include "Saacho Ishq", "Naseeb", "Dilbar Aayo", "Sehra Wedding Songs", and "Tohinjoon Yaadoon". Q4: How did social media contribute to the popularity of Master Manzoor? Social media platforms gave him a wider audience, enabling his music to reach and impact people around the world, thus increasing his popularity. Q5: What is the significance of traditional Sindhi music? Traditional Sindhi music is an important part of Sindhi cultural heritage, reflecting the history, values, ​​and artistic expression of the region. It incorporates unique songs like Bait and Wae and has influenced the shaping of the Sindh music scene. Read the full article

[theindiandanceclass]

The Harmonious Divergence: Classical Indian Dance Classes vs. Modern Dance Classes

Dance is a universal language that transcends cultural and linguistic boundaries. Within this realm, classical Indian dance classes near me and modern dance represent two distinct yet harmonious worlds. Both forms have their unique styles, histories, and philosophies. Let’s explore the differences between classical Indian dance classes and modern dance classes.

Origins and Evolution

Classical Indian Dance:

Classical Indian dance forms, such as Bharatanatyam classes, Kathak, Odissi, and Kuchipudi, trace their roots back thousands of years. These dances are deeply intertwined with Indian mythology, religious rituals, and temple traditions. Each classical indian dance class form has a rich history and follows specific guidelines and structures passed down through generations. The Natya Shastra, an ancient Indian treatise on the performing arts, lays the foundation for many of these dances.

Modern Dance:

Modern dance emerged in the early 20th century as a rebellion against the rigid structures of classical ballet. Pioneers like Isadora Duncan and Martha Graham sought to express more personal and emotional content through dance. Modern dance is characterized by its fluidity, freedom, and emphasis on the individual dancer's expression. It often incorporates elements from various dance styles and is continually evolving.

Training and Techniques

Classical Indian Dance Classes:

Rigorous Training: Students undergo years of rigorous training, mastering complex footwork, intricate hand gestures (mudras), facial expressions (abhinaya), and body postures. bharatanatyam dance classes near me .

Structured Curriculum: The curriculum is highly structured, with a strong emphasis on technical proficiency, storytelling, and adherence to traditional compositions.

Guru-Shishya Tradition: The teacher-student relationship is deeply revered, often following the ancient Guru-Shishya (teacher-disciple) tradition where the teacher imparts not just technical knowledge but also spiritual and moral guidance.

Modern Dance Classes:

Flexibility and Creativity: Modern Indian dance class encourage creativity, improvisation, and individual expression. There is no strict adherence to a fixed set of movements or techniques.

Eclectic Approach: The training often incorporates elements from various dance forms, including jazz, contemporary, hip-hop, and even classical ballet, providing a diverse learning experience.

Personal Interpretation: Dancers are encouraged to explore and interpret movements in their unique way, often leading to innovative and experimental performances.

Themes and Expression

Classical Indian Dance:

Mythology and Spirituality: Themes often revolve around stories from Indian epics like the Ramayana and Mahabharata, as well as religious and spiritual concepts.

Symbolism: Each gesture, expression, and movement holds deep symbolic meaning, conveying specific emotions, narratives, and philosophical ideas.

Devotional Aspect: Many classical Indian dance classes near me are performed as offerings to deities, with a strong devotional and spiritual undertone.

Modern Dance:

Contemporary Issues: Modern dance often addresses contemporary social, political, and personal issues, making it a powerful medium for commentary and reflection.

Emotional Expression: The focus is on raw, authentic emotional expression, often pushing boundaries and challenging traditional norms.

Abstract and Conceptual: Modern dance can be abstract, exploring movement and form without a specific narrative, allowing for open interpretation by the audience.

Performance and Presentation

Classical Indian Dance:

Traditional Attire: Dancers wear elaborate, traditional costumes, jewelry, and makeup, each element enhancing the storytelling aspect of the performance.

Live Music: Performances are often accompanied by live music, including classical Indian instruments like the mridangam, veena, and flute, with vocalists singing traditional compositions.

Stage Conventions: The presentation follows specific stage conventions and sequences, creating a structured and predictable format.

Modern Dance:

Minimalist Approach: Costumes and stage settings can range from elaborate to minimalist, depending on the choreographer’s vision.

Varied Music: Music selection is eclectic, spanning genres from classical to contemporary, electronic to experimental.

Innovative Staging: Performances may take place in unconventional settings, incorporating multimedia elements, lighting effects, and audience interaction.

Conclusion

Both classical Indian dance and modern dance offer rich, immersive experiences, each in its unique way. While classical Indian dance connects us to ancient traditions, cultural heritage, and spiritual narratives, modern dance provides a canvas for contemporary expression, innovation, and personal storytelling. The beauty of dance lies in its diversity, and exploring both forms can lead to a deeper appreciation of the art and its boundless possibilities.

Whether you are drawn to the intricate rhythms of Bharatanatyam or the expressive freedom of modern dance, each path offers a journey of discovery, discipline, and joy.

[i-am-the-page-turner]

"The Ministry of Time" by Kaliane Bradley.

"The Ministry of Time" by Kaliane Bradley is a gripping tale set in a dystopian future where time travel is regulated by a powerful government agency. The protagonist, a young agent named Eva, navigates the complexities of her job while uncovering dark secrets within the ministry. As Eva delves deeper into her missions, she begins to question the morality of the agency's actions and grapples with her own identity. Bradley expertly weaves together elements of science fiction, political intrigue, and personal drama to create a thought-provoking narrative. With its richly imagined world and compelling characters, "The Ministry of Time" explores themes of power, loyalty, and the consequences of meddling with the fabric of time itself. Readers will be captivated by the suspenseful plot twists and philosophical undertones that drive the story forward. Bradley's novel offers a fresh take on the time travel genre, blending action-packed sequences with insightful reflections on the nature of free will and destiny. As Eva embarks on her journey of self-discovery, she must confront the shadows of her past and make difficult choices that will shape the course of history. "The Ministry of Time" is a must-read for fans of speculative fiction who enjoy narratives that challenge the boundaries of time and space.

[saurabhchandrakar-news]

Sourabh Chandrakar

Unveiling the Journey of Saurabh Chandrakar: A Glimpse into the Mahadev Story

In the realms of storytelling, certain narratives transcend time, leaving an indelible mark on those who encounter them. Among these, the tale of Saurabh Chandrakar stands out—a journey intertwined with creativity, perseverance, and the pursuit of truth. From his humble beginnings to becoming the author behind the celebrated "Mahadev" series, Saurabh Chandrakar's story is one of inspiration and insight.

Who is Saurabh Chandrakar?

Saurabh Chandrakar is a name synonymous with literary brilliance and imaginative storytelling. Born with a passion for weaving narratives, Chandrakar's journey began in the heart of India, where he nurtured his love for literature and storytelling from a young age. His unique perspective and unwavering dedication soon propelled him into the realm of literary acclaim.

The Genesis of Mahadev

At the core of Saurabh Chandrakar's legacy lies the epic saga of "Mahadev." This captivating series delves into the realms of mythology, spirituality, and human nature, offering readers a profound exploration of the self and the universe. Through intricate plots, rich characters, and philosophical undertones, Chandrakar invites readers to embark on a transformative journey unlike any other.

The Mahadev Story Unveiled

The Mahadev series transcends traditional storytelling, offering readers a multifaceted experience that resonates on both intellectual and emotional levels. Each installment is meticulously crafted, blending elements of mythology with contemporary insights to create a narrative tapestry that captivates the imagination.

From the origins of the universe to the complexities of human existence, the Mahadev series navigates through profound themes with depth and clarity. Through the eyes of its characters, readers are invited to ponder life's greatest mysteries, confront their inner demons, and discover the true essence of existence.

Saurabh Chandrakar: A Creative Visionary

As the mastermind behind the Mahadev series, Saurabh Chandrakar exemplifies the qualities of a creative visionary. His ability to seamlessly intertwine mythology with modern sensibilities sets him apart as a literary luminary. Chandrakar's storytelling prowess lies not only in his narrative skills but also in his profound understanding of human nature and spirituality.

The Impact of Mahadev

Since its inception, the Mahadev series has garnered widespread acclaim and has left an indelible impact on readers around the world. Its thought-provoking themes and philosophical depth have sparked discussions and contemplations, inspiring readers to delve deeper into the mysteries of existence.

Beyond its literary merit, the Mahadev series serves as a testament to the power of storytelling to transcend boundaries and connect individuals across cultures and backgrounds. Through Chandrakar's words, readers embark on a transformative journey of self-discovery and enlightenment.

The Author Behind the Legend

Saurabh Chandrakar's journey from aspiring writer to acclaimed author is a testament to the transformative power of perseverance and passion. His dedication to his craft and unwavering commitment to truth and authenticity have earned him a place among the literary greats of our time.

Saurabh Chandrakar News and Updates

Stay updated on the latest news and developments surrounding Saurabh Chandrakar and the Mahadev series. From new releases to exclusive insights into Chandrakar's creative process, there's always something exciting on the horizon for fans of his work.

Conclusion

In the world of literature, certain stories have the power to transcend time and leave an enduring legacy. The tale of Saurabh Chandrakar and his magnum opus, the Mahadev series, is one such narrative—a journey of creativity, enlightenment, and the eternal quest for truth. Through his words, Chandrakar invites readers to embark on a transformative odyssey, where the boundaries between myth and reality blur, and the essence of existence is revealed.

[beardedmrbean]

With fewer people driving diesel cars, Finland will have a hard time making up significant vehicle tax losses, according to an Iltalehti op-ed piece.

Revenue from vehicle taxes plummeted by a quarter last year. Tax revenue amounted to 382.6 million euros, compared to over 500 million euros the previous year.

The car tax is a one-time fee for vehicles being registered for the first time — but not if they're electric. Finland does not tax EVs at all under the current vehicle tax model. But only if they were registered after October 2021.

The tax shortfall is merely a knock-on effect of previous governments' policies, with consumers reducing emissions by transitioning to cleaner vehicles, according to the paper.

Finland is struggling to balance its finances, which means it needs to find revenue streams somewhere else, including raising value-added taxes, according to IL.

Stagnating capital

Hufvudstadsbladet follows up on news that the housing market is improving in some parts of Finland. For the country as a whole, Pellervo economic research PTT predicts a cautious increase in prices for old high-rise apartments this year. But not in Helsinki.

The capital region has been the site of much new construction in recent years, resulting in a large supply of new apartments.

Rising interest rates have meanwhile led property investors to flee the market. When mortgage rates were zero, it was favorable to invest in rental apartments, which increased demand and pushed up prices — which is not the case anymore.

American girlfriend

Ilta-Sanomat's most-read story on Friday concerns the former love interest of Alexander Stubb. The article also suggests that the new president may know a thing or two about the US Bible Belt.

"I wasn't too surprised when I heard he [Stubb] became prime minister because he had already mentioned that as his goal back in university," Florida native Kerstin Armstrong told IS.

Citing Stubb's 2017 biography, IS noted that Armstrong was a "philosophical Christian" who introduced Stubb, then a student at Furman University, to churches in the southern states.

"But even love has its limits, so I didn't join prayer meetings, but I participated in reading groups where we pondered the deepest essence of the New Testament and watched movies with a philosophical undertone…. In the end, the relationship was down to a simple choice. Kerstin had to choose between Jesus and me. Jesus won," IS writes, citing Stubb's book.

[fortressofserenity]

Thorny Topics

When it comes to the subject of what is cultural appreciation and what is cultural appropriation, the latter often comes off as a performative interest in something. That’s from my experience appropriating Chinese culture to feel less western, until I started frequenting Chinese websites more often and began incorporating more hanfu influences in earnest. The former is a sincere interest in something foreign, albeit one that’s either anchored in respect or tempered by it. Sometimes the line between the two is blurred, but ultimately the latter will lead to the former if the interest is sincere enough.

As for Avatar: The Last Airbender and its Asian pretensions, somebody said that its creators primarily based its overall atmosphere from Hong Kong martial arts films and anime with Southeast Asian, Northeast Asian and South Asian cultures as window dressing. It’s pretty much got traditional Chinese characters pat, but not so much when it comes to adhering to a rather westernised philosophy and understanding of things. Per Chinese cultural logic, the waterbenders would be in the north and firebenders based in the south. The airbenders would be in the east, since that’s wood’s cardinal direction and wind’s subsumed under it.

If because both of them penetrate things and that plants give off oxygen, the metalbenders would be in the west and earthbenders at the centre. Also the waterbenders should wear black, since that’s the colour water’s associated with. As in it gets real deep and dark when it comes to the ocean, white with metal (silver, gold and iron when you think about it), green and blue with wood (these colours were only given separate words and characters later on in China’s linguistic history), yellow and brown with earth and predictably red with fire. Actually regarding green and blue being both associated with wood, it can be pulled off in a way that’s reminiscent of flowers and fruits.

Especially flowers like violets and cornflowers as good references, but that involves being more deeply influenced by Chinese culture or at least have a deeper understanding of it than they’re used to or think they do. Supposing if the Philippines were to become more deeply influenced by China at this point in time, it wouldn’t entirely undo western influence and at best it would minimise it. It would, however, lead to more organic borrowings not just due to a growing admiration for China and Chinese culture, but also and most importantly how close the Philippines is to China. So strongly around the corner enough to have these borrowings take off real well.

It could even happen anytime soon if America stops being a superpower for good, but it could take off in a way it couldn’t fully be with Spain due to how close these two are. Spain had to rule the Philippines through Mexico, but with China it could take off more easily due to it being a stone’s throw away from us. Similar things would happen if the Philippines became more heavily influenced by Vietnam, Malaysia and Indonesia, all three of them are also a stone’s throw away compared to Latin America if one were to consider both logistics and geographical proximity. This would be China’s advantage over America in many ways.

I’m getting off-topic here but you should get my point where if something’s actually influenced by another country, especially on a larger scale, then the cultural borrowings would come off more organically and naturally. This is something that I feel the Avatar stories lack, if because it was written by people who never lived in a community or country that’s influenced by China in any way. It becomes evident in the philosophical undertones of the story so far, there’s not a lot of characters respecting anybody who’s older than them.

Well as far as I know of since I’ve just started reading the comics, when it comes to bats in Chinese culture they’re actually associated with luck and happiness as the Chinese word for bat is homophonous with another word for fortune or something like that. Dragons in Chinese thought are linked with weather and water, in fact there’s as much a link between dragons and snakes in China as there is in the west because not only do Chinese dragons look snakelike but that snakes are referred to as little dragons. Additionally and something that should be noted more often, dogs were historically used in China for rodent control.

Because a huge chunk of the Avatar stories seem to owe Chinese culture, right down to the use of Chinese characters it’s odd why there’s not a single dog used to hunt down rats in those stories. It’s like that in Ancient China, since this happened before the arrival of cats there. It still is the case with its neighbours like the Philippines and Indonesia, they may be influenced by Chinese culture but only certain aspects of it. Especially the ones that can be easily commodified, not so much the other aspects that go against western stereotypes of Chinese and East Asian cultures. I even think if Avatar was created by somebody who’s actually Chinese, it’d turn out differently to the point of being alien.

Which says a lot about Avatar being made by people living in a place that’s not impacted by China in any way.

[kafkaoftherubble]

Hahaha! Yea, I don't like romance in the fiction I read, so the idea that this is a BL manga made me hesitant at first!

But frankly, when it did explore things related to that, it was mostly about emotional intricacies, attachment, and feelings. The main character is queer, but his struggle with it is in the undertone of the story (rather than upfront) and sometimes rather allegorical. For example, the narrative unfolding between himself and his monster-possessed friend could reveal the hidden clues to his queerness, such as how he feels about being queer in a stifling, rural village.

Meanwhile, the other character is queer in a different way. "He's" not exactly gay (you'll understand why as you read the story), even if he's outwardly very affectionate. For now, I kinda see him as more aroace than anything, particularly because some of his sentiments and feelings resonate with my own experience, ha!

This is why I personally read the story as less "BL" and more "a compelling friendship where both started off as rather dysfunctional but gradually evolved into motivations for each other to better themselves." Sure, the romance stuff really flew over my head almost automatically, so I'm sure other readers do not fail to catch any of it and interpret it appropriately! But this is what their relationship reads like to me. You might get a different reading—I think it depends on your own understanding of relationships thus far!

Above all else, I really value the philosophical questions their relationship raises along the way. Reading it with a dear friend is probably part of why it's such a rewarding experience—I got to ramble about these things with someone together, ahahahhahah! And I admit, these questions are meaningful to me in real life, too!

Anyway, any "classical BL element" in the story is mostly shown in the first few chapters. Nonetheless, in retrospect, if you contextualize those moments accordingly, it actually seems less like "ticking off BL tropes for the genre."

It's beyond that, methinks; it's more of a window into the other main character's alien, non-humanlike mindset as "he" tries to explore what it's like to be human.

(Also, don't mistakenly read Chapter 0! That one was VERY funky. It was kinda why I was hesitant for a looooong time ahahhaaha)

Dude, you are flattering me, Flagyn!!! (this is your nickname based on your username because I love giving my friends Lyndisian nicknames)

It's a really good manga with horror, philosophical, and yes, BL (which mostly flew over my slow-ass head, ahahahah. Can I blame my aromanticism for this? Probably) elements. If you wanna try a new manga, give this one a go. Chapter 1 over here!

Even if you're like my sister who self-professed an inability to deal with manga and wants to experience stories by seeing things move and speak and in color and with music—it's getting animated for next year! So yea, keep an eye out for Hikaru ga Shinda Natsu nonetheless!

SUREEEEEEEEEEE IT SOUNDS REALLY COOL!! lyndis i love your taste hehe

i'm really scared of the BL part though...