#Some Remarks on Narrative and Technology

[thirdity]

The ability to understand a great deal of ill-formed language is not the accidental fallout of linguistic competence (i.e., the ability to speak in well-formed language), but is rather the anterior state necessary to have any concept of the well-formed at all. Rather, grammar always follows language and is generated as an always-partial description of what is actually there (i.e., a description of the parts there that are particularly useful in ways the concept of grammar defines).

Samuel R. Delany, "Some Remarks on Narrative and Technology"

#language #grammar #meaning #understanding #norms #quotes #Delany #Samuel R. Delany #Some Remarks on Narrative and Technology

[xan-from-space]

Damn, the Ember Island Players were actually kind of radical, weren't they? The more I think about it, the more it feels like the only way it makes sense in-universe is if being Fire Nation propaganda wasn't the point of their play at all. Aside from a barely tacked on ending where Ozai kills Aang, the play is remarkably sympathetic to the Avatar and a bunch of enemies of the Fire Nation, even framing them as being heroes. Even at points in the story where theyre literally killing Fire Nation soldiers, the narrative still seems to be on their side; they're the underdogs, the relatable ones. Its true that the Fire Nation values strength, but still, you'd expect that in a propaganda play they would be portrayed as at least a little bit more sympathetic... And sure, to some extent the gaang's characters could be seen as defamatory caricutures (the slander on Iroh specifically was probably intentional), but that also might be due to the Players getting a lot of their information from the cabbage man, someone who actively hates the gaang and only ever really sees the worst of them. (And notably, that also means that the Players had worked with an Earth Kingdom merchant to produce the play.)

Mocking the gaang is also just clearly not the point of the play or what people are there for. Sokka's actor says that he's constantly being approached by fans; people genuinely love these characters. The gaang have built entire dedicated fanbases in the Fire Nation because of this play. Honestly, the fact that they're on a remote island is probably the only reason they're able to perform the play the way it is. I imagine it would get shut down pretty quickly on the mainland. Considering all the propaganda in the Fire Nation that we've seen so far, I wouldn't be surprised if the ending was only written that way because it's illegal to write a story where the Fire Lord doesnt win. The play reads less like propaganda and more like 'we're doing the bare minimum to get this story past the censors.'

I'm really curious about what it's like behind the scenes for the Ember Island Players. Are their shows just simple, shlocky entertainment, or could they also be deliberate political commentary? With no recording technology, a play is easier to slip under the radar than something like a book: it's impermanent, stays in one theatre, and performances can be easily tweaked if, say, Fire Nation royalty happens to come by. It's interesting to me that Ursa seemed to like them, while young Zuko had a disdain for them, saying they 'butchered' the story of Love Amongst the Dragons; in all likelihood the version of the story Zuko grew up with in the palace was heavily propaganda-filtered itself. Although, to be fair, they're arguably just not very good playwrights. When it comes to the characterization, I do think some of it only seems bad because we know what the actual characters are like, but a lot of it is just bad writing clearly meant for cheap entertainment. For example, they sexualize Katara quite a bit (and there's other, better analysis out there I've seen that examines how they fetishize her as a Water Tribe girl). And, of course, all of the characters are reduced to shallow and stereotypical comedy.

Still, I think they're worth commending for doing their research and telling a story about enemies of the state that's both sympathetic and surprisingly accurate to actual events, if not the characters' personalities, amidst the Fire Nation's rampant propaganda and misinformation. From the little amount of information about them we can extract from the show, they seem like honestly very interesting people. They're walking this tightrope line between being very close to the heart of the Fire Nation but also separate from it; between being cheap, inconsequential entertainment and being a source of actual news for Ember Island citizens; between telling the underdog story about a ragtag group of children and still trying to make it look like Fire Nation propaganda. I'm not trying to make any big argument on whether they were 'actually good people' or whatever, I just want to know more about them. I kind of wish we could see their production of Love Amongst the Dragons now...maybe I'll write something about them someday

#I wrote this in a haze after randomly catching the episode while my sister was watching it #I'm so fascinated by the inner lives of these people. What does it look like to write and produce these plays? #What does their day-to-day look like? How do the actors feel about their characters? #Actually if anyone has any fanfic recommendations in this vein please tell me #atla #avatar the last airbender #ember island players #the ember island players #atla analysis #zuko #uncle iroh #katara #ursa atla #cabbage man #cabbage merchant #fire nation

[gizmocreates]

hello everyone, gizmo has some Thoughts about canto VI 3 and how that connects to the narrative as a whole. :3 I’m copying and pasting what I rattled out in a discord server at 5 am last night so it’s gonna be atrocious and manic but bear with me

did anyone else notice that the ‘human dough’ that was prevalent in canto VI is remarkably similar to the hill of bodies Kromer was creating in order to create her version of the ‘perfect human’

also if N-corp’s goal is to make the ‘perfect human’ it makes sense that they’d hate prosthetics. How are you supposed to make a perfect human if they’ve already perfected themselves in unmalleable steel

actually. Is Faust an identity overlay. I’m calling it now the homunculus Faust theory is right but not in the way everyone thinks. There is no ‘other Faust’, the Faust we see is Every Faust and the reason she’s sinner no. 2 is because Yi Sang helped make her what she is now. Yi Sang is really touchy about the mirror technology being used how it is by N Corp because he did that to make Faust and he regrets it. Faust sold her body and soul to achieve multiversal knowledge and in this essay I will-

#limbus company #canto vi spoilers #Faust lcb #kromer lcb #i have so many more thoughts about this canto and you know for a fact that the Dante stuff is making me insane #but you’re gonna have to wait for that if I ever get around to actually dumping my thoughts

[iturbide]

*reads tags on the last post*

...ok but now I'm actually curious about your issues with TOTK👀

okay so to be per, fectly clear: Tears of the Kingdom is a really fun game. I've been playing a lot of it, aimlessly wandering around, exploring the Depths, finding shrines, doing side quests, and so on. At this point I've cleared the four regional quests, a bonus mainline quest I wasn't supposed to know about yet I found the shrine early and had enough hearts to open the door, what can I say, I'm curious, I have the Master Sword, and I think most of what's left is armor upgrades and wrapping up the main story.

But also I have been spoiled since the game came out about what's in store and boy do I see a lot of similar narrative issues to my gripes with Fire Emblem.

So we might as well start off small with how TotK actively rewrites its history in ways that are even more extreme than Skyward Sword. Skyward Sword introduced Hylia and Demise as concepts, with Hylia inheriting the Triforce from the Golden Goddesses of Din, Nayru, and Farore and tasked with protecting it, while Demise appeared as a demonic entity intent on taking that power for himself. As of Skyward Sword, Zelda was written as the mortal reincarnation of Hylia, thereby retroactively contextualizing her powers. The Triforce has been a power source sought after and fought over through every prior entry in the series, and even though BotW didn't make outright reference to it, the Triforce was clearly present on Zelda's hand when her powers awakened and appeared in full when she sealed Calamity Ganon at the end of the game.

And Tears of the Kingdom does away with it completely.

Hylia is mentioned as the only goddess. The Golden Goddesses aren't referred to at all. There is no Triforce at all, it's instead been replaced by the Zonai 'Secret Stones' even in the ancient past, despite the fact that we saw the Triforce at the end of the last game. It was right there. Zelda is also no longer the reincarnation of the goddess: instead her powers are re-explained as being the product of the historic marriage between the Zonai Sage of Light and the Hylian Sage of Time, giving her command over both (but she's considered only the Sage of Time for some reason?).

Also, BotW pretty heavily implied that Hyrule was a matriarchy: it's the queens and princesses who have the sacred power, so it stands to reason that Zelda's mother was actually the one in charge of Hyrule before her death, and the king only stepped into the leadership role on a temporary basis until Zelda came into her powers (hence that pointed "heir to a throne of nothing but failure" remark in one of the memories). But despite there being a Hylian queen right there in the ancient past, the game firmly establishes that Rauru is the one with the power, and Sonia is just his consort, a priestess who he chose to marry.

And then there's the Shiekah. Throughout all of BotW we were surrounded by these amazing machines, ancient technology crafted by the Shiekah and unearthed in working condition after a myriad in the ground which are still running and wreaking havoc a hundred years after the Calamity. We start the game in a Shiekah Shrine that literally saved Link's life and allowed him to recover from what should have been fatal wounds, though it did take a hundred years to do so.

And all of that is gone in TotK. Not a trace of it remains: the shrines have all been wiped from the face of the earth, the Divine Beasts are nowhere to be found, the Shiekah Towers have evaporated into thin air -- and the shrine that saved our lives is completely gone, replaced by a hot spring. It still bears the name of the Shrine of Awakening, but none of the miraculous technology remains.

Personally, the idea that either Purah or Zelda would consider the Skyview Towers worthy of dismantling that Shrine completely shatters my suspension of disbelief. They're both scientists: they should want to study all of that in detail to understand how it works, not destroy it for glitchy impersonations of the old towers I hate the Skyview Tower miniquests so much.

(Let me tell you, it was absolutely chilling for me to get to Rito Village and see an empty place where I clearly remembered there being a shrine. The Shiekah presence in history has basically been wiped out in TotK outside of Kakariko Village, and I don't like what that says considering that the Shiekah were also victims of a genocide by the ancient king of Hyrule.)

And then there's the imperialism. I have my issues with Three Houses and every ending needing Fodlan to be united under a single banner, though it's most egregious in CF where Edelgard's stated purpose is returning Fodlan to its proper state unified under the Imperial Standard. TotK is worse. There have been some excellent breakdowns of the narrative implications, touching on everything from the loaded imagery and black-and-white narrative purpose of Ganondorf and the Gerudo (dark-skinned evil desert dwellers who oppose the good and glorious worshipers of the goddess...where have I heard that before...) to the game showing outright that the other races of Hyrule were treated as lesser vassals in the ancient past (the Sages being masked and therefore erasing their individual identities, receiving the Secret Stones that Rauru had been hoarding only when Rauru needed help to fight Ganondorf and thereupon swearing their very lives and the lives of their people to him and his empire???). They're great analyses, they've been living in my brain for weeks.

But I think the thing that I'm most mad about is that the narrative bends over backwards to keep anything from changing. At the start of the game, Link's arm is so badly damaged by the Gloom that he nearly dies and he spends the rest of the game with Rauru's arm in place of his own...but then, in the end, he magically gets his original arm back no worse for the wear. Zelda, in an attempt to empower and restore the Master Sword, turns herself into a dragon, a process that we are told outright in the narrative will cause her to lose herself and is therefore irreversible...but then, in the end, she magically returns to her human form thanks to her ghost ancestors somehow reversing this supposedly irreversible process. And on top of all that, Hyrule itself is exactly the same when all is said and done: there's no change to the power structures, no independence for the other races who choose to come together in the spirit of cooperation like we saw at Tarrey Town -- instead, the four Sages once again swear their support and fealty to the Princess of Hyrule.

Personally? I like a narrative where the characters and the world change over the course of it. That's one of the things that I thought was so meaningful about BotW: while most of the gameplay takes place in the present, the true start of the game is 100 years in the past, allowing us to see how the Calamity affected Hyrule, the devastation it wrought and the continued struggles of those who survived through the century that followed. We end the game with Zelda once more free, where she had been locked in combat with the Calamity; with the spirits of the Champions at peace, where they had been trapped by the Blight within the Divine Beasts; and with Hyrule finally at peace and beginning to recover now that the Calamity has been sealed away. I still think it's ridiculous that they don't actually show any of Link's scars in the game (especially since we are at one point forced to strip to prove that we are who we say we are, and they say point blank I would recognize those scars anywhere when there are no fucking scars), but at least things have changed over the course of the narrative!

But nothing changes in TotK. The status quo remains untouched and unquestioned. And it just feels...bad to me. Insincere, maybe. Unrealistic, sterilized, manufactured. It's a narrative that says there's nothing to question, that everything going back to the way it always was is the right and proper way of things, because clearly the Hyrule Empire is the right and proper rule. And I just don't like that.

#answered #unsuspecting-person #tears of the kingdom #totk spoilers #totk critical #i see a lot of familiar narrative beats in totk #that i have also seen in fire emblem #narrative beats that make me super uncomfortable #and for as fun as the game is to play #there's stuff about this story that really unsettles me #but also: i hate the zonai devices and i hate the building #i didn't even use a damn horse through most of botw #i continue to not use a horse through totk #i walk everywhere on foot and enjoy the scenery #i build only when i have no other choice #it's a pain in the ass and i get no joy out of it #that's very much a me problem though #i have the same issues trying to play minecraft

[mariacallous]

Back in 2022 at the annual Code Conference, where tech luminaries submit to onstage interviews, an audience member asked Apple CEO Tim Cook for some tech support. “I can’t send my mom certain videos,” he said; she used an Android device, which means she can't access Apple’s iMessage. Cook’s now-infamous response: “Buy your mom an iPhone.”

Cook’s remark and Apple’s recent decision to block the third-party app Beeper from bridging the Android-to-iMessage interoperability chasm are two of the many examples of allegedly monopolistic behavior cited in the US government’s antitrust suit against Apple. Central to the case is Apple’s practice of “locking in” iPhone customers by undermining competing apps, using its proprietary messaging protocol as glue, and generally making it challenging for people to switch to other phones.

Those accusations are backed up by lawyerly references to the Sherman Act. But the complaint also shows the Department of Justice crafting a cultural narrative, trying to tell a technology tale with a clear message—like an episode of the crime drama Dragnet, says antitrust expert William Kovacic, who teaches at George Washington University and King’s College, London.

The Apple antitrust lawsuit, filed Thursday by the DOJ and more than a dozen state attorneys general, claims that in addition to degrading the quality of third-party apps, Apple “affirmatively undermines the quality of rival smartphones.” Because messages sent between iPhones via Apple’s proprietary network appear in blue bubbles, but those from Android phones appear in green and are excluded from many iMessage features, Apple has signaled to consumers that rival phones are of less quality, the suit alleges.

The suit includes references to the negative cultural and emotional impact of the restrictiveness of some Apple products. It ranges beyond the typical antitrust case, in which investigators might focus on supracompetitive pricing or the conditions of corporate deals that restrict competition. The core of US antitrust cases has long been proving consumers paid higher prices as a result of anticompetitive practices. But a few key paragraphs within the 88-page filing mention the exclusion and social shaming of non-iPhone users confined inside green chat bubbles, distinguishing this case from some of the more recondite explanations of tech market competition in recent years.

“Many non-iPhone users also experience social stigma, exclusion, and blame for ‘breaking’ chats where other participants use iPhones,” the suit reads. It goes on to note that this is particularly powerful for certain demographics, like teenagers, who The Wall Street Journal reported two years ago “dread the ostracism” that comes with having an Android phone.

The DOJ argues that all of this reinforces the switching costs that Apple has baked into its phones. Apple is so dominant in the smartphone market not because its phones are necessarily better, the suit alleges, but because it has made communicating on other smartphones worse, thereby making it harder for consumers to give up their iPhones.

Legal experts say this social stigma argument will need much stronger support to hold up in court, because it doesn’t fit with traditional definitions of antitrust. “What is Apple actually precluding here? It’s almost like a coolness factor when a company successfully creates a network effect for itself, and I’ve never seen that integrated into an antitrust claim before,” says Paul Swanson, a litigation partner at Holland & Hart LLP in Denver, Colorado, who focuses on technology and antitrust. “This is going to be an interesting case for antitrust law.”

Regardless, the DOJ’s complaint builds a powerful message from the cacophony of consumer voices that have vented frustrations with iMessage’s lack of interoperability in recent years. And it’s part of a broader, democratizing theme introduced by Jonathan Kanter, the assistant attorney general for the DOJ’s Antitrust Division, says Kovacic, who previously served as chair of the Federal Trade Commission. “Kanter basically said, ‘We’re trying to make this body of law accessible to ordinary human beings and take it away from the technicians,’” Kovacic says. “Storytelling is overstated in some ways, but my sense is that a lot of work went into this filing.”

Apple has rejected the DOJ’s allegations. In an earlier statement to WIRED, Apple spokesperson Fred Sainz said that the lawsuit “threatens who we are and the principles that set Apple products apart in fiercely competitive markets” and added that its products work “seamlessly” together and “protect people’s privacy and security.”

Cultural arguments about the harms of the iPhone’s stickiness will resonate with a lot of consumers, even if they end up being legally indefensible. Blue bubble vs. green bubble messaging has become a much more mainstream debate that transcends the wonky, technical underpinnings of iMessage’s protocol. Apple has also consistently boasted of iPhone and iMessage’s tight security, while seemingly denying third-party apps—such as Beeper—the ability to offer a similar level of security between iPhones and Android phones.

Apple has suggested that the design of iMessage is not anticompetitive, because iPhone users can install and use any third-party messaging app they please, as long as it’s available in the App Store. Apps like Facebook Messenger, WhatsApp, and Signal can all be installed on iPhones and give messages sent from users on Android or iPhone equal treatment.

The DOJ takes aim at that, too, saying that these other apps first require opt-in from consumers on both sides of a conversation because they form closed systems of their own. And the case points out that Apple hasn’t given app developers any technical means of accessing the iPhone messaging APIs that would allow SMS-like, cross-platform, “text to anyone” functions from those apps.

Swanson says he still believes Apple has been careful to take the necessary steps to legally preserve consumer choice, which is one of the fundamental principles in US antitrust law. “You probably can’t do sophisticated messaging on a T9 phone these days,” he says, referencing the predictive text system that dominated before the iPhone popularized touchscreens. “But there are plenty of other options in the market that won’t deprive you of a network effect.”

Kovacic believes that as the case continues, the DOJ will have to bring forward new evidence and arguments to stand up the cultural aspects of its suit. That could involve tapping theories of economics and the psychology of human behavior to attempt to explain why some technology consumers may unconsciously favor certain products they are emotionally attached to. More likely, he says, the DOJ will have to present contemporaneous business notes that show Apple’s anxiety about competitive apps or emerging technologies, and how the company responded in apparently dubious ways.

One way the DOJ tries to stand up its allegations is by comparing Apple to an earlier antitrust target: Microsoft. In a historic antitrust case filed in 1998, the DOJ presented evidence that Bill Gates’ company was fearful that software like the Netscape browser could weaken the market power of Windows, Kovacic says.

Steven Sinofsky, a former longtime Microsoft executive, wrote in a highly charged blog post on Saturday that he suspects many of the suit’s arguments about Apple’s products will prove to be irrelevant. “Almost all of the [DOJ-Apple] battles will end up being about the terms and conditions of contracts which is the stuff lawyers and courts are good at, and not on product design,” he wrote. “The vast majority of the settlement in the Microsoft case ended up being terms and conditions licensing Windows.”

In other words, the DOJ has shown some of its cards in this initial complaint—and told a story that will resonate with many frustrated smartphone users. But to keep the case alive the agency will have to present additional, concrete, evidence that Apple’s anxieties about its products being devalued led it to act in ways that caused actual harm. If the DOJ wants to make the case against Apple as historic as the one against Microsoft it will have to prove, as Kovacic puts it, “that the anecdotes aren’t just storytelling.”

[lurafita]

Make Them Sparkle

(fanfic, oneshot)

Summary:

If Raphael had any say in this, Magnus would not be allowed to give mundanes writing advice. Ever.

Magnus prided himself on being a person who went with, and adapted to the ever changing times.

He had witnessed many immortals who got stuck in particular time periods. Be it refusing to adopt new fashion trends, or remaining stagnant in certain behaviors or mindsets that had been common at one point in history. Bemoaning how things ‘used to be so much better back in the day’. People who needed to anchor themselves in the past, in order to face the present and future. 

Not Magnus, though. While he treasured many of the memories made during his long existence, he had always been the type to look forward, instead of back. 

He had seen and embraced the progress humanity made, philosophically, technologically, and socially. 

And, while the road of progression hadn’t always been a smooth one and weathered its fair share of hiccups along the way, Magnus certainly appreciated the fruits of this particular labor. 

(And not only mundanes, but the shadow world, too, had come a long way from what it had once been. Magnus would never not be proud of the part his dearest Alexander and his friends and family had played in that development.)

Anyway, being a "modern" warlock, and having personally supported some of the various technological marvels of the world they now lived in, Magnus had a deep appreciation for the internet. 

A way for so many people from so many different places and stages of life to come together, to connect and share with each other, was truly remarkable.

There was almost nothing that the internet didn’t have, unless it connected to matters of the shadow world, but even that was slowly changing.

From funny videos and beautiful music, to shops and art and so much more. 

Websites tailored to specific hobbies or tastes. Sites to find employment, or living accomodations. Those that gave the user an opportunity to make friends, or find love. 

And, of course, so called help-forums. Professionally or community run sites, spanning various topics all around offering advice when someone needed it. 

Like one particular writing forum for aspiring authors, which Magnus had found himself in one sunny afternoon, as he had been browsing aimlessly to waste some time.

One of the requests had caught his eye especially. 

‘Please help me bring fresh wind into old supernatural lore!’

Clicking on the request and reading further, Magnus had learned that the hopeful author was trying to write a teen love story with vampires and werewolves, revolving around a highschool mundane girl and her vampiric love interest, as well as a werewolf contender.

Magnus had snorted, thinking the idea hardly original, and had almost clicked away again, but one sentence had stood out.

‘Vampire love stories are a dime a dozen, I’m well aware of that. But while plot and circumstances often change around the different narratives, the lore and rules behind the vampires rarely do. It’s always a thirst and need for blood, a weakness to religious artifacts, and an inability to bear sunlight. That last one especially, I wish to change for my story, as I feel that describing a whole world that most humans are unaware of, and plays mostly in the dark, is terribly restrictive. But I also think that just waving any effect the sun might have on a vampire away, is a missed opportunity for exploring alternative plot points. Which is why I’m asking for any kind of inspiration or thoughts any of you might be willing to share.’

So Magnus had read on as the author had described their world and characters in a little more detail.

And upon learning of the broody, dark haired, stubborn, kind and compassionate main vampire character, Magnus couldn’t help it when his brain had made the comparison between a fictional character, and his very own favorite broody, dark haired, stubborn, kind and compassionate vampire. 

And as he was thinking of his dear little Raphael, the vampire he had taken under his wing decades ago and practically raised (even though Raphael had been 24 and fully adult by mundane standards when he had been turned), Magnus hadn’t been able to curb his more mischievous impulses. 

Clicking on the answering function to the thread, he had snickered heavily as he typed out just three words.

‘Make them sparkle!’

Who would have thought that, just a few years later, this little bit of innocent fun he had had, would come back to interrupt his sexy make out session with his precious shadowhunter boyfriend?

“Magnus!” The door slammed open and shut in barely more than a second, as an incensed Raphael stormed into the loft.

A lifetime of training and battle ready instincts had Alec lift Magnus off his lap and behind him in just one move (which was so fucking hot, if not for their unplanned intruder, Magnus would have climbed his boyfriend like a tree), as his other hand seemlessly went down to quickly retrieve the throwing knife strapped to his lower leg.

The defensive maneuver was aborted as soon as Alec registered who had just barged into the apartment, and instead the tall man slumped back into the couch (careful not to crush his boyfriend) with a deep, slightly annoyed, sigh. 

Raphael though reacted to neither the knife that had almost been thrown at him, nor the glare the shadowhunter was giving him right then.

Instead, he held up the book he had in hand and snarled in Magnus' direction. “What the fuck is this?!”

Magnus blinked, still trying to sort through the haze of his newly ignited arousal after Alexander’s display of strength and speed, and the clearly agitated mood Raphael seemed to be in.

“It’s called a book, my dear. It holds in its pages the wonder of the written word and thus the power to create wonderful and fascinating tales for all to share.”

If anything, that answer made Raphael look even more mutinous. Which was just rude, if anyone were to ask Magnus. 

“I know what a book is!”

Magnus huffed, finally straightening himself out of the mess of limbs he had been from Alexander’s manhandling him to safety (And they would have a talk about that later. As hot as that had been, Magnus couldn’t have his Alexander trying to shield him while facing a threat on his own.)

“Then why did you ask?”

Raphael could apparently not be bothered to explain, and instead just chucked the book at him. Once again shadowhunter reflexes trumped Magnus' own, and Alec snatched the book out of the air before it could hit the warlock. 

He scrunched up his nose a little (which was adorably cute in Magnus’ humble opinion and he quickly leant forward a bit to peck Alec on the cheek) as he read the title. “Twilight?”

It made Magnus smirk. “Oh, I think I have heard of this. A supernatural teen romance novel, if I remember Biscuit’s words correctly. I must be honest, my dear boy, I didn’t think this would be your type of thing.”

But the vampire just crossed his arms over his chest. “Open it up to the introduction.”

A little puzzled, but also curious, Alec and Magnus did just that. It appeared to be just your ordinary preface to any book. 

‘I thank everyone who has supported me through this, bla bla bla, I’m incredibly honored and grateful for this opportunity to share bla bla bla, I hope this tale will find a way into your heart bla bla bla.’

Really; pretty standard as far as the warlock was concerned. Until they reached the last section on the introductory page, and it slowly dawned on Magnus just why Raphael looked as if he had been forced to listen to Simon ramble about a deep introspection on why Spider-Man was the best Marvel superhero ever.

Oh.

‘I would like to give special thanks to someone I unfortunately have never met personally, but whose input has definitely helped to inspire me to spice things up a bit. So this is to you, The_Magnificent_Bane. I “made them sparkle”!’

“Oh.” 

“Oh?” Raphael thundered. “That’s all you have to say to this? You told this woman to make her vampires sparkle in the sunlight like some demented disco ball! We don’t sparkle! The only sparkly crazy person around here is you! Do you have any idea what the stupid flea balls are going to say when they learn of this? Are you laughing? Stop laughing! There is going to be so many glitter jokes in my future now thanks to you! I’m never gonna hear the end of this! Magnus! Stop laughing!”

Magnus stopped laughing. Eventually. 

#magnus bane #alec lightwood #malec #shadowhunters tv #shadowhunters #fanfic #raphael santiago #magnus is a menace #twilight reference #it's all magnus' fault #poor raphael #alec being a bamfy bamf

[elliepassmore]

A Letter to the Luminous Deep review

5/5 stars Recommended if you like: light academia, fantasy, mysteries, epistolary narrative, mental illness rep, LGBTQ+ characters

Big thanks to Netgalley, Orbit, and the author for an ARC in exchange for an honest review!

This book starts out relatively slow, and even when it picks up this is a character-driven novel more than a plot-driven one. I've seen it likened to Emily Wilde's, which I would have to agree with, and imo the pacing is pretty similar between the two. With that said, I think the pacing benefits this kind of novel and I enjoyed the unfolding of events and character relationships over the course of the book.

Likewise, this book is written epistolary style, so through letters and journal entries, which I've noticed becoming more of a thing recently. I think it's a really interesting way of telling a story and think it's a great way both to get to know a character and to introduce narrator unreliability (Henerey himself even points out that he purposefully will not write certain things down since he does not want them to be read). I think the way Cathrell utilized the epistolary narrative style for this novel was brilliant. The events that occur are, in and of themselves, a mystery and by having those events told via letter, the mystery is compounded through two layers of characters revealing things. It's a super interesting way to go through a mystery novel and I feel it added to the experience and the suspense. We already know the ending, but E. and Henerey nor Sophy and Vy nor us know how that ending happened, and only the latter two groups are going into this mystery with the knowledge of how it ends.

The world in this novel is quite interesting. It's a mostly-aquatic society that had to rebuild after falling out of the sky 1000 years prior in an event known as the Dive. It seemed to have decimated technology, land masses, and a good portion of the population, though society is now flourishing on it's three "campuses," each of which have slightly different cultures and seem to prize different virtues. I liked getting the snippets about the world and how it functioned, as well as getting to know the names for the animals of the world (some of them are familiar, most are variations on what we would know, such as the "toothed whale"). I look forward to learning more about the world in book 2.

The book is pretty evenly split between E. and Henerey's correspondence and Sophy and Vyerin's, leaning more toward Sophy and Vyerin's. I liked seeing the two sets of relationships grow, with E. and Henerey becoming romantic while Sophy and Vy become friends and help each other heal from the loss of their siblings. I also enjoyed seeing how each group put the puzzle pieces together and the ways in with Vy and Sophy are able to add some additional context both to the mystery as well as to their siblings' lives.

To start with, E. is afflicted with a "Malady of the Brain" with makes her extremely anxious and gives her OCD-like tendencies and thoughts (i.e., she repeatedly checks portholes and airlocks to ensure the Deep House is secure, feeling as though the house will spring a leak and kill her otherwise; she also has major intrusive thoughts), and ensures that she has spent most of her adult life within the confines of the Deep House. Despite her anxiety, she pens the letter to Henerey that gets their relationship, and the mystery, started. E. is remarkably inquisitive and seems to have a broad depth of knowledge in multiple subjects, not least ocean life and fantasy novels (two things she and Henerey bond over). I enjoyed getting tidbits about her childhood and seeing her open up to Henerey and their shared intellectual pursuits.

Henerey comes across as a mix of level-headed and endearingly enthusiastic (and nervous). He takes E. seriously from the get-go and the two are intellectual matches as they talk over the ocean, life, and novels. It's clear that Henerey is excited to have made a friend and I liked how much he cared about E.'s interests and opinions. I do feel that we didn't get to know him as well as some of the other characters, so I would like more insight into Henerey if possible in book 2 (Vyerin will def be in it, so hopefully he can provide more insight).

Speaking of, Vyerin felt very realistic to me. He still clearly misses his brother and is grieving his loss, even a year out from when it occurred. This has prevented him from doing much reading into Henerey's personal affects, but as he and Sophy converse via letter, he's able to reconnect with his brother through those letters and begin to both heal and become invigorated for the mystery central to the novel. While Vy seems more 'stuck' in the grief cycle as compared to Sophy (not to say Sophy isn't grieving still too), he's also able to be humorous at times and I enjoyed his quips, as well as the moments when he revealed more about his husband and children.

Sophy seems to have moved a step or two further in the grieving process than Vy, but she too still deeply misses her sister. She comes across as very determined, and even though she isn't in the career position she was in when E. died, she's still very academic in nature and approaches things in a very systematic and logical manner. I particularly enjoyed Sophy's letters because they gave insight not just into the E. and Henerey affair, but also into the Ridge Expedition, which was a major scientific expedition Sophy was on when the whole thing with E-H was going down. The expedition was alluded to have ended abruptly and to have returned few results, but imo it's clear from the get-go that the mission somehow ties in with what happened to E. and Henerey as well as into the book's central mystery.

Overall I greatly enjoyed this book and found myself immersed in the characters and the world. It's definitely slow paced but I think it works for the story and the narrative style. I absolutely love the epistolary nature of the story and the way both the story and the mystery unfolded in dual 'timelines.' I'm greatly looking forward to the sequel!

#book #book review #books #book recommendations #fantasy #bookstagram #booklr #bookblr #bookaholic #bookish #ligh academia #fantasy books #sci fi book #sci fi #water world #epistolary narrative #a letter to the luminous deep #netgalley #netgalley reads #netgalley review #advanced readers copy

[chatonarya]

Some thoughts on Silverash Oprec2.

Original thread on twitter.

Ever since I first read Silverash’s second oprec (“Unbreakable Ice”), the section where he rejects all of Doc’s suggestions for friendship has bothered me: in particular, his nonsensical rejection of Gnosis, which flies in the face of both his own words and the plot of BI.

Eventually, I settled on the explanation that Enciodes had to be simply sucking up immensely to Doc, trying to make himself look as pathetic as possible so that Doc would feel sorry for him.

This is a feeling that has only strengthened with the release of the manga, and what’s also jumped out at me is the second, just as egregious, part of that conversation: his rejection of the idea that Degenbrecher could be his friend, too.

It’s increasingly clear to me that this—the idea that neither Gnosis nor Degenbrecher are Enciodes’s friends—is a bald-faced lie. It flies in the face of everything that we’re shown, not told, of their characters, and I’d like to provide a few visual examples why.

Let’s start with Degenbrecher. Enciodes claims “she doesn’t care.” This is so easily disproven that it’s almost laughable, and I can disprove it with this one single page (where she carries a broke and undoubtedly drunk Enciodes and Gnosis home over her shoulders in the snow).

She not only notices his emotional distress, but points it out and encourages him to lean on her for support, a sentiment he acknowledges and accepts(!). Though she approves of KT's business (Sharp makes a point of saying so in BI), she also cares on a very personal level.

Furthermore, we see that she remains with him not for money because he doesn’t have any, but simply because she likes him—look at her smile, how genuine it is. She's almost startled how much he trusts her (perhaps, is he the first who really has?)--but she accepts that trust.

This isn’t even touching on her EP, where she pledges she “will be [his] wall” and “keep [him] safe.” She cares about him overwhelmingly, so it's absolutely undeniable. They have a much deeper relationship than merely employer and bodyguard.

Now let’s move onto everyone’s favorite arson chicken, Gnosis. He’s a bit more complicated as he’s got a tsundere streak a mile wide, but I believe the evidence is similarly irrefutable.

First and foremost, the handshake CG and the reaffirmation. This is one of the narrative climaxes of BI and its biggest plot twist, so it has a lot of weight. This is the one scene that flips everything on its head: that they were actually collaborators, and friends.

This is one of the primary pieces of evidence that make oprec2 utterly baffling. Gnosis willingly suggested and posed as a traitor for him in an act of extreme dedication (which as we see is common behavior for Gnosis); Gnosis is there on a dream and a promise… but doesn't care?

Then Enciodes’s own words to Doctor at the end of BI. This takes place before oprec 2. Enciodes asserts gladly that Gnosis is his friend, will never betray him, and that they share a remarkable rapport. Why would he tell Doc this now, only to do a complete 180 later and deny it?

What’s more, we see that Enciodes is much concerned with Gnosis’s well-being. While Gnosis is undeniably vital to Enciodes’s plans as Kjerag needs Gnosis’s technology, we see that Enciodes has prepared all for him. (Plus his comment about Gnosis's weight, acting they may be.)

Next, we have their behavior in the manga, where their friendship is more clearly emphasized. Of note, Gnosis is almost protective of Enciodes: more than once he goes ahead of him, acting as the front charge. And look at how Enciodes tells him to “stay safe,” when they part ways.

Gnosis is also perfectly willing to set a man on fire to further their plans. Again: dedication. He might complain about Enciodes, but when the chips are down, Gnosis is ready to fight at a moment’s notice.

Their “silent communication” returns as well. Enciodes emphasizes to Viscount Walden that they have a long bond. This is completely unnecessary, as the Viscount is only asking about Enciodes and likely hasn’t even seen Gnosis, let alone met him.

They also share a number of fantastic looks (and Gnosis chews Enciodes out as usual just like he does in BI).

With everything we know about Gnosis—in particular, his extreme dedication to Karlan Trade’s endeavors and scientific mindset and somewhat warped way of thinking—a sturdy argument can be made that his relationship with Enciodes is a pure business one.

But in light of the manga, in my opinion it's clear that the friendship is mutual by Gnosis's reactions and worries--and on that note, returning to the point: Gnosis has given Enciodes his all, and Enciodes knows this.

Their bond is emphasized not merely by the plot twist of BI, but by the supplemental materials. Enciodes values Gnosis as an ally and friend immensely, it's shown clearly that Enciodes relies and depends on him just as heavily as with Degenbrecher.

So with that in mind: Gnosis is "someone [he] can't share anything with"? Someone who's merely "knowledgeable?" (So vague, too!) Someone who "has been together [with him] since childhood"? I don't think so. I think they are, as he says, "dearest friends" and "partners-in-crime."

What's the conclusion to all of this? Well, Enciodes is a lying liar who lies. My gut instinct that he was lying about Gnosis is further compounded with the knowledge that he's undoubtedly lying about Degenbrecher. Enciodes has friends: he just wants Doc to believe he doesn't.

Why? Because then he's a pathetic little meow meow who should be pitied and taken in, rather than a grown-ass man with two besties whom he trusts with his life. :)

#arknights #arknights essays #my essays #gnosis #silverash #silverweiss #karlan trio

[fatehbaz]

In this remarkably rich account of land and profit-making in colonial Calcutta (now Kolkata), Debjani Bhattacharyya traces the transformation of marshes, bogs, and muddy riverbanks into parcels of fixed, bounded, and alienable property under British colonial rule. Framed evocatively as a “history of forgetting” (6), Bhattacharyya details the everyday enactments and contestations of imperial power undertaken by colonial officials and merchants, hydrographers, Indian property owners, urban planners, surveyors, and speculators between the 1760s and 1920. Over this period, the fluid and culturally multivalent spaces of the delta were translated and transformed into “dried urban landscapes of economic value” (12). [...] [T]he economization of space was so encompassing that earlier ways of understanding and inhabiting the delta’s shifting lands and waters were [obscured] [...].

The British thus had to produce landed property both conceptually and materially in a process that proceeded through two entangled registers of power. The first was the legal register, which translated shifting and indeterminate aqueous spaces into apparently solid landed property through modes of legal classification and arbitration. The second register of power concerned hydraulic technologies of drying and draining the landscape (10), which materialized these legal categorizations in the production of urban space. 

By the early twentieth century, these “technologies of property” (5) had produced new lines between land and water in the city and rendered its fluid ecologies, such as marshes and bogs, as valuable “land-in-waiting” (172) for property development and financial speculation. [...] 

[T]he delta’s fluid ecology emerges at times as a limit on the property-making activities of the East India Company and the British Crown [...]. Bhattacharyya’s account highlights the mobility of the delta’s fluid landscape, with water, silt, and mud taking on agentic roles and shaping historical trajectories. [...] [Bhattacharyya] provides a fascinating account of the meanings of rivers and other watery spaces in Bengali cultural life, drawing on folk songs, poetic genres such as the maṅgalkāvya, storytelling, and forms of artistic representation such as painted narrative scrolls. [...] Bhattacharyya recovers forms of relationality and claim-making in the fluid deltaic environment that exceed the representations of colonial cadastral surveys and revenue records. [...] 

[H]owever, Calcutta became increasingly disconnected from its watery past. [...] [There was an] increasing entanglement of the urban land market with infrastructural projects to dry land and control water. These included the excavation of an extensive network of canals; the construction of docks in Khidderpore and the draining of the Maidan [...]. A collective amnesia about Calcutta’s fluid ecologies set the stage for the emergence of a speculative real estate market by the beginning of the twentieth century [...]. This period saw Calcutta’s remaining wetlands and marshes rendered as “land-in-waiting for property development” (169) in a process that continues to the present day.

---

All text above by: Calynn Dowler. “Debjani Bhattacharyya, Empire and Ecology in the Bengal Delta: The Making of Calcutta.” Asian Ethnology Volume 80 Issue 1. 2021. [Bold emphasis and some paragraph breaks/contractions added by me.]

#ive read bhattacharyyas book and her focus on the lethal power of property laws and legal engineering in bengal #is also the focus of two other scholars of bengali environment and history who are kuntala lahiri dutt and rohan dsouza #all three highlight how colonial lawmaking converted fluid deltas mangroves rivers into property #to tax and control land yes but also to strengthen landlords and hierarchies to force the poor into debt and wage labour and plantation work #abolition #ecology #imperial #colonial #mangroves

[opera-ghosts]

Francis Planté (2 March 1839 – 19 December 1934) was a French pianist famed as one of the first ever recording artists.

While recordings of pupils of renowned composers like Liszt and Brahms, as well as Rachmaninoff himself, offer glimpses into the musical ethos, the absence of recordings by Chopin and his direct pupils is notable. However, we encounter a captivating exception in the recordings of Francis Planté, a French pianist born in 1839, who not only predates Chopin but also recalls hearing the legendary composer play. Planté’s connection to Chopin, through both direct exposure and association with the composer’s pupils, provides a distinctive window into the musical world of the past.

Francis Planté’s recordings, made in 1928 when he was approaching his 90th birthday, present a rare opportunity to witness a pianist from the 19th century using advanced sound reproduction technology of the early 20th century. Born before the advent of recording technology, Planté’s performances offer a direct link to the era of Chopin, Schumann, and Mendelssohn. The decision to record in Planté’s home, as opposed to a studio, adds an intimate dimension to the recordings. This unconventional choice, suggested by a friend after Planté’s two concerts in 1928, resulted in the preservation of 18 works on nine two-sided discs, totaling approximately 45 minutes.

Despite Planté’s age at the time of recording, the performances showcase a remarkable level of dexterity and musicality. While not in his prime, Planté’s recordings highlight his enduring skill, evidenced by his ability to play Chopin’s Barcarolle exceptionally well even in his advanced years. The recordings reveal moments of agility and precision, with occasional imperfections that were inherent in the technology of the time. Planté’s playing, characterized by a full-bodied sonority, vibrant colors, and rhythmic vitality, reflects an extraordinary musical intelligence. Noteworthy is his emphasis on left-hand harmonic support, an essential element in 19th-century pianism often overlooked in modern interpretations.

In the echoes of Francis Planté’s recordings, we encounter a sonic time capsule that bridges the gap between the 19th and 20th centuries. These recordings, capturing the essence of a pianist born in 1839, offer a poignant glimpse into the artistry of Chopin’s era. Planté’s music, preserved with authenticity in the advanced technology of 1928, stands as a testament to the enduring power of music. The imperfections, a consequence of the recording technology’s limitations, become integral to the narrative, reinforcing the historical authenticity of these artifacts. Planté’s legacy extends beyond mere documentation, inviting contemporary listeners to engage with a living tradition and reaffirming his invaluable contribution to the evolving tapestry of classical music. In the resounding notes of Planté’s piano, we discover not only a historical record but a resonant echo—a reminder that the language of music transcends time, speaking to us across the ages.

One pianist who is particularly fascinating to hear is one who was not only born before Chopin died but was also old enough to actually remember hearing the legendary composer play! Furthermore, this artist also performed with chamber musicians who had played with Chopin himself. This was the French pianist Francis Planté, who was born in 1839 and died in 1934 at the age of 95.

Planté studied with the legendary teacher Antoine François Marmontel and also knew some Chopin pupils, in addition to having heard the composer himself. It must be noted that this does not mean that he necessarily played like Chopin, but it is fascinating to consider what he might have gleaned from his close proximity to the composer and his circle. He also knew Liszt, and he performed with Saint-Saëns; in fact, Arthur Rubinstein provided some fascinating recollections about hearing these two French musicians perform in a way that would certainly be considered unconventional in our time. Here, Rubinstein first discusses Saint-Saëns’s style of playing before discussing how the composer performed together with Planté.

It is remarkable that a pianist of Planté’s generation should have made recordings — and in very good sound. These discs were produced in 1928 when the technology in sound reproduction was vastly superior to even a few years earlier. That said, Planté was naturally not at his prime, as he was approaching his 90th birthday. Nevertheless, the recordings demonstrate that he kept his dexterity at an impressive level, although it was obviously not what one would expect from a younger artist. The renowned pianists Gaby and Robert Casadesus spent an afternoon with Planté at his home around the time that these recordings were made and reported that he played the Chopin Barcarolle remarkably well even at that age.

How these recordings came to be made is fascinating, too. Planté had given two concerts in a single day in May 1928 — he was 89 at the time! — when one of his friends suggested to the Columbia recording company that Planté’s playing be preserved on disc. As the aged French pianist was not interested in going to the studio, the company arranged for the equipment to be sent to his country home, and on July 3 and 4, 1928, a set of nine two-sided discs comprising 18 works was recorded and issued — a total of about 45 minutes. Some film of the artist was also made, albeit silent: you can see Planté playing some Chopin.

Because recording technology at the time did not allow for editing to correct any mistakes, what you hear in Planté’s recordings (and all 78-rpm disc performances) are complete, undoctored performances (unlike heavily edited modern recordings). There are a few moments at which he is definitely less agile and precise, such as in a couple of the Chopin Etudes — in fact, after Planté struggles a bit with the ending of one of these works, we can hear him swear in frustration! — but with the exception of these few passages, his playing is absolutely extraordinary. Even at his advanced age, he produced a gorgeous full-bodied sonority (he was playing on his own Érard piano), beautiful colors, and wonderful pedal effects, playing with astounding rhythmic vitality and buoyancy.

In Planté’s playing, we always hear great intelligence and aliveness in the music, some of which were written during or close to his lifetime (Chopin, Schumann, and Mendelssohn were all alive in his first years). His timing is quite natural, his rubato not as pronounced as that of many of his contemporaries, and his vivaciousness is quite infectious in some of the more upbeat compositions (such as the opening Berlioz work and the Schumann near the end of this selection). Also noteworthy is his clear but unobtrusive highlighting of left-hand harmonic support, an important element in 19th century pianism that is sorely overlooked by many performers today.

In the echoes of Francis Planté’s recordings, we discover a sonic time capsule that bridges the expanse between the 19th and 20th centuries. Born in 1839, Planté’s music reverberates with a living connection to the era of Chopin, Schumann, and Mendelssohn. As we step into the world of his performances, meticulously preserved in the advanced technology of 1928, we are granted a poignant glimpse into the artistry that flourished a century ago.

These recordings, produced when Planté was approaching his 90th year, offer a testament to the enduring power of music. The decision to record in his home, away from the constraints of a studio, adds an intimate dimension to the experience. The imperfections, a consequence of the technology’s limitations, become part of the narrative, reminding us of the authenticity of these historical artifacts.

Planté’s musicality transcends the passage of time. While moments of diminished agility surface, his performances exude a profound understanding of the compositions. The recordings capture his nuanced approach, revealing a pianist with a natural sense of timing and rhythmic vitality. Notably, his emphasis on left-hand harmonic support unveils a facet often overlooked in modern interpretations.

Revisiting Planté’s legacy is not a mere archaeological endeavor but an encounter with a living tradition. His ability to evoke a rich sonority and infectious musical spirit, even in his advanced age, attests to a pianist deeply embedded in the soul of his craft. These recordings, a gift to contemporary listeners, serve as a reminder of Planté’s invaluable contribution to the ever-evolving tapestry of classical music.

In the resounding notes of Planté’s piano, we find more than historical documentation; we discover a resonant echo from the past—a reminder that the language of music, spoken by hands long stilled, continues to speak to us across the ages.

#classical music #opera #music history #bel canto #composer #classical composer #aria #classical studies #maestro #chest voice #Francis Planté #Planté #classical musician #classical musicians #classical voice #classical art #classical history #recording artists #musician #musicians #history of music #historian of music #music education #music theory #footage

[thirdity]

The slippages, the ambiguities, the mistakes are, finally, what make language function in the first place.

Samuel R. Delany, "Some Remarks on Narrative and Technology"

#ambiguity #error #mistakes #distinctions #language #metaphor #meaning #quotes #Delany #Samuel R. Delany #Some Remarks on Narrative and Technology

[rawliverandgoronspice]

https://www.tumblr.com/rawliverandgoronspice/718014251940315136?source=share

Ill be honest and say i think the removal of sheikah related lore was not for internal weird racist reasons and instead simply for game design reasons, why the zonai tech is so similar in concept and execution. totk is a sequel and also a redux, they needed technology for mechanics and a reason for the world to change and introducing an entirely new race of characters would be the perfect scapegoat. it feels like it ignores botw almost entirely because 1) new players 2) to be a finished version of botw more mechanics and more content. the narrative was barely a thing in this game because what mattered the most was design and gameplay above all else. i don't think caring about gameplay first particularly bad, it's a fun game they will probably revolutionize the industry once again, and that nintendo doesn't care about lore at all but it really wasn't the priory here at least that's how I felt when i play the game. i adore the overworld and the npcs but the main quest (tears) story itself is very stale. best praise i can give to it is character design and zeldas sacrifice/how they handled her and link that's literally it (vague because i don't know if you've gotten there yet, it's after the completion of the tears quest and getting the master sword). zelda lore at this point is a sandbox and us fans will do what we want with it. sorry for the ramble!

Hey, thanks for the ask!

So I sort of agree, especially on the first part. I absolutely believe that yes, sheikah were not sidelined for malicious reasons, and the ease of just having one super-powerful ultratech culture you rely on was cleaner than having the old relics hanging around. I actually think it's the cleanest choice to make (one that would have been *even cleaner* would have been to write a story and think of a world that reinvent its landmarks based on that new ideas of archeology and the past bursting back into the present, which is theme that coats the game but doesn't ever permeates it). I still think any acknowledgement that it used to exist would have enriched a world that has, ultimately, very little new things to teach us about itself (I have scoured the Depths a bunch, and it's a combat/exploration hotspot, and that's cool but also what a missed opportunity to try some proper FromSoftware-style worldbuilding down there!). I don't think this would have confused new players; if anything it could have hinted at more and gave the new players any reason to pick up Breath of the Wild? But: the world is a playground! That's cool. I think it could be a much more meaningful playground, that's all. There's a category of players who kind of need some light modicum of internal consistency to be invested in exploration, and will just get bored otherwise (I have seen a bunch of people making this exact remark, and honestly... yeah, there are areas in the game I'm not interested in exploring just because I know it's a consequenceless challenge in the end --I'm just not the kind of player that is hooked by a game loop on its own merit, I need to understand what I'm building towards or I lose interest. It's the kind of thing that wouldn't have changed anything to a regular TotK's enjoyer experience, but would have greatly enriched the experience of players like me)

Still think that making Sheikahs a subset of hylians was a very weird choice. Not an outright malicious one, but one that does build up with all of the other weird choices and make this Hyrule feel like a revisionist Hyrule; and one they simply... didn't have to make.

(I'll maybe do another post about this, but there are so many things in this game that would be very confusing to a new player either way also --but that's kind of going into another territory)

I disagree about one general point, however, and I may get offtrack here a little but I guess you gave me an excuse to rant a little about how narrative design is perceived by the general public and what has been frustrating to witness in regards to the conversation surrounding this game from my perspective.

Mainly, this notion that "they had no other choice" because they chose to prioritize gameplay. I'm going to overshare a little (again sorry) but I work in gamedev in real life; I am actually a narrative designer that did quest design and game writing on a couple of games, some of them that also qualify as AAA open worlds. I think it's completely fair to see this game from a player perspective as a series of compromises struck to privilege the aspect of the game they were the most confident with --however, it is literally my real life job to walk through situations that can be extremely similar to this one and find solutions that weave narration with fun experiences game and level designers managed to put together. It doesn't mean that story has to swallow gameplay: if anything, narrative designers always try to privilege mechanics first and treat them as narrative devices in their own right before whipping out the actual cutscenes and the constant writing (and this game was somehow under AND overwritten in my opinion, especially in English --so I don't think it even solved this aspect?). This is not at all aimed at you in particular but at the internet at large; it ends up being quite grating to see assumptions being made about what can and can't be done in non-linear narrative as like, a fact of the universe instead of it being a specific field that deserve research and investment just like any other graphical advancement or intricate interactive feature, and explain away poor design decisions by the strange notion that they had no other choice, as if Nintendo studios aren't comprised of a bunch of humans who made active and passive choices. Like, I worked on very similar issues. There are solutions to how you feed information to the player in a non-linear way. There are ways to maximize impact and depth, even when you let the player guide the story. Again: it's fine if it doesn't bug you or a lot of people --but there are flaws. It happens. It's gamedev. It's a miracle any game is made at all --and this one is its own sort of miracle. What strikes me as strange is that I never see that level of excuses made for companies that do not cultivate that same image of being an unapproachable, united workforce, that get instead torn to shreds at the slightest sideway brush --but that's another subject maybe (maybe).

Narrative design is this thing that, when it's not there, people don't realize it could be; and when it is there, people take it for granted unless it's very visibly front and center like in Edith Finch or Disco Elysium or any other number of indie games (generally it's the indies who do all the research and development and take all of the risks on that front --like seriously I worked in narrative-driven studios, known for their narrative games, where 2/3 of the game designers couldn't care less about emotional impact beyond satisfaction/frustration/boredom, and it's infinitely frustrating (heh) to have your specialization considered optional fluff when you know how far thematic cohesion can push a game when handled well ANYWAY anyway). So: I was always going to care about the way they handled narrative, because it's how I'm wired, what I research, and I also played this game in part because I was very curious on how they'd push their explorations of BotW's possibilities, which were very interesting if a little limited. Needless to say, this was a let down. And I think it's not unreasonable to have higher narrative standards than this.

I do want to autocorrect myself on a statement I put out before, however, that being the notion that not enough research was put into narrative. I think I want to push forward a new theory that sounds much more plausible to me (again based on nothing but speculation and weird déjà-vu vibes, which is perhaps why I care that much :) :) ), and that being: a lot of research was done, and then cut. It seems very plausible the narrative used to be much more ambitious than this --and then, for one reason or another, somebody panicked, or the thing got out of hand, or they couldn't get it to work exactly right, and everything was downscoped pretty late into production. Six years of development is a long time, and I don't think anyone with the standards of a Nintendo employee would have been happy with handling the storyline the way it was. It kinda feels like a rushed cobble-up of loose threads after a massive downsizing, leaving plot holes and suboptimal emotional experience. Again: just a theory, no proof at all. But I absolutely wouldn't be surprised, and it would explain a lot of things.

#asks #thoughts #totk #totk spoilers #totk critical #gamedev #narrative design #sheikah #botw #as for the lore as a sandbox: yes! I agree #tloz #but here they tried to shut doors instead of opening them almost? #I mean not really #but it is obviously a soft reboot #I don't know there is this sort of vague contempt for zelda lore/story enjoyers that permeate a lot of the discourse #which I find weird and unfair #like it's one of the last forms of gamer nerdiness worthy of mockery that a lot of other fanbases seem to have outgrown #nobody can agree on what feels like Zelda or what part of Zelda is important!! that's the zelda fandom: arguing about what is Zelda!! #and story fans were always an important subpart of the fanbase #not you anon but general internet dwellers have this sneering “you enjoy the game wrong so it's not for you” attitude #when it's clearly and demonstrably untrue (or it has been in the past) #and if it ends up becoming true... then isn't it a sad thing? #why are we scoffing at the people who don't feel at home with zelda anymore? #especially when they very well still could if some *truly* minor effort was being made in their favor? #anyway thanks for the ask! I hope I make some sort of sense!

[ipeepz-1]

Ngành Du lịch Việt Nam tăng vọt với sự phục hồi đáng chú ý sau đại dịch

The resurgence of Vietnam's tourism sector is a vibrant narrative of resilience and renewal. As the world emerges from the shadow of the pandemic, Vietnam has witnessed a remarkable recovery, with its tourism industry playing a starring role in the nation's economic upturn. From the bustling streets of Hanoi to the serene waters of Ha Long Bay, the country's vast array of cultural and natural wonders are once again open for exploration, offering a beacon of hope and a wealth of opportunities for travelers and locals alike.

Rediscovering the Beauty of Vietnam: A Surge in Visitor Numbers

The Return of the Global Traveler

As international borders reopen and confidence in travel returns, Vietnam has seen a significant increase in visitor numbers. The country's diverse landscapes, rich history, and warm hospitality are drawing tourists back in droves. Data from Vietnam's tourism authorities show an upward trend in arrivals, with figures rivaling and, in some cases, surpassing pre-pandemic levels.

A Focus on Sustainable and Responsible Tourism

In the wake of the tourism sector's revival, there has been a concerted effort to promote sustainable and responsible travel practices. Vietnam is actively enhancing its eco-tourism initiatives, ensuring that the beauty of its destinations remains unspoiled for future generations. From eco-friendly hotels to tours that support local communities, the emphasis is on creating a tourism industry that is both environmentally and socially conscious.

Innovations and Upgrades: Enhancing the Tourist Experience

Infrastructure Improvements for a Seamless Journey

Vietnam's commitment to bolstering its tourism appeal extends to significant infrastructure developments. Upgraded airports, improved transportation links, and enhanced digital connectivity are making travel within the country smoother and more accessible than ever before. These advancements are not only improving the tourist experience but also boosting the sector's contribution to the national economy.

Digital Transformation in the Tourism Industry

A key element of Vietnam's tourism resurgence has been the embrace of digital technology. From virtual tours to online booking platforms, digital innovations are providing travelers with the tools to plan and enjoy their visits with ease. This digital transformation is also enabling the industry to reach a wider audience, tapping into new markets and demographics.

The Road Ahead: A Bright Future for Vietnam's Tourism

Embracing New Markets and Opportunities

As Vietnam looks to the future, the tourism sector is set to expand its horizons. With a strategic focus on untapped markets and an increase in international collaborations, the country is poised to establish itself as a premier destination in Southeast Asia. The introduction of unique travel experiences, cultural festivals, and culinary tours is aimed at showcasing the country's rich heritage and contemporary dynamism to the world.

A Call to Discover Vietnam's Charm

The revival of Vietnam's tourism industry is a story of triumph over adversity. As the country opens its arms to the world once again, it extends an invitation to travelers to rediscover its enchanting landscapes, bustling cities, and tranquil retreats. With its tourism sector set on a path of sustainable growth, Vietnam is not just a destination to visit but a destination to experience, remember, and revisit.

#vietnam #travel

[radioactive-earthshine]

Legion of Super-Heroes (1989) #0

Some great world building things going on here that give you a sense of place.

1.) R.J. Brande is supposed to be the wealthiest person in the galaxy, period. Yes, boo hiss, but he's a fictional character.

2.) Brande's mark on the galaxy is that he is in possession of some highly proprietary technology that facilitates travel that is much, much, much faster than light speed. He essentially made something akin to Mass Relays from Mass Effect. This unified much of the galaxy together.

3.) Because the galaxy is more unified and travel no longer takes weeks or months the United Planets is in its infancy but is a necessary entity for an interstellar community spanning hundreds of civilizations.

4.) Earthgov 15 years ago was pretty authoritarian with President Thawne and is still up to some shady shit even now but in a different flavor. This series regretfully does not mention President Thawne's regime and the tight choke-hold he had on outlawing superpowered people and the use of super powers (which may have been a carry-over but he nonetheless enforced heavily).

5.) Speaking of super powers...

Legion of Super-Heroes (1989) #0

It has been 'so long' since they had super heroes and it also has been a long time that Earth has apparently had metas living among them utilizing their powers in heroic ways the thought of doing the same with their powers is... not their first thought.

6.) Also a point to make, much of their history is unknown due to the amount of wars they have had in the 1000 years that separate the mainstream timeline. They might recognize these heroes but their specific history is generally completely lost.

Legion of Super-Heroes (1989) #0

7.) Teenagers being employed and expected to behave with the full responsibility, rationality and judgement of adults is common place in this time. Young Justice's narrative was that teenagers were teenagers and weren't adults, but they weren't quite children either - by complete contrast LOSH's narrative paints these teens as fully capable, independent and 'mature' enough to be self sufficient. There are some moments where their age is brought up but those are remarkably few and far between. Teenagers also can just get married whenever they want as well.

#orla reads losh

[tanadrin]

Considering your recent musings on worldbuilding, fantasy, and magic realism, would be interested to hear your thoughts on superhero worlds, where practically all those subgenres crossover (soft science fiction for the technology, dark fantasy/horror for the magic, high fantasy pantheons loosely based on mythology and entirely made-up and genre-busting ones, space opera for the occasional interstellar travel, etc.) and yet from some point on it gets merged into the background of an universe supposed to be just like our world until noted otherwise (particularly in social trends, etc.), in true magic-realist fashion.

i gotta say, superheroes are just... basically uninteresting as a concept to me. whether you're deconstructing or reconstructing or playing it straight, you have to torture basic narrative plausibility (irrespective of SF/fantasy/realist plausability) to make the genre function that i simply tend to lose interest.

also, i don't think "a universe supposed to be just like our world until noted otherwise" is a very good definition of magical realism. magical realism is, IMO, about emotional logic overwhelming other systems governing the narrative at specifically heightened points, in a way that should break those systems (but apparently does not). but not everywhere in the narrative (that's more like surrealism), and typically not in ways that are marked as unusual within the narrative (characters don't go "wow, that was weird/amazing/terrifying!"). your definition seems to me to be a better definition of "low" or "urban" fantasy, or certain kinds of near-future science fiction, than magical realism.

because in superhero fiction, the weird/amazing/terrifying nature of the fantastical elements are part of the point. superman is a hero because he is remarkable and, well, superhuman. it would only be magical realism if clark kent was an ordinary guy who one day caught a building that was collapsing and saved lois lane because of his overpowering love for her, and his sense of personal alienation from the rest of the human race, and everyone acted like this was pretty normal and it was never brought up again. as soon as you make him an alien, as a causative factor in his supernatural abilities, you just have regular science fiction.

i do think it's kind of fun that the superhero genre is one of those genres that borrows freely from others--narratives where tropes from horror, fantasy, and science fiction can coexist comfortably are neat. i have friends who are english major types, you know, real insufferable book nerds, who speak of the superhero genre not unlike you do: they evoke the image of a febrile amalgam of different artists in the same shared universe, where the contradictions and paradoxes only add to a kind of semi-surreal character; and of more independent auteur-style projects like Watchmen and Worm which comment cleverly on established tropes of the genre.

but whenever i dip my toe into superhero fiction of any flavor, i feel less that i'm sampling from a roiling cauldron of imagination too rich to be contained by any single narrative approach and more that I am tasting a bland wafer of something whose foundational characters and stories were almost instantly converted into an undifferentiated paste by particular commercial and cultural demands; and rather than injecting new and exciting material into that paste, most innovations in the genre have taken that paste and tried to sculpt it, like making little sculptures out of spam and calling it cuisine.

this is not to say i have never enjoyed a superhero movie; just that even the works praised as daring innovators within the genre seem to me to be basically more of the same. like licensed star wars media or video game tie-in novels, it's incredibly difficult to transcend the limitations of your genre when the thing that crystallized the genre in the first place, the thing that has your audience present in the first place, are those limitations. i don't think it's possible to make a superhero story very interesting for the same reason it's not possible to build the burj khalifa out of spam: spam is not steel, and in order to make spam have the properties of steel, it would have to cease to be useful as spam.

[fearsmagazine]

TEETH - Review

SYNOPSIS: “Dawn O’Keefe is an evangelical Christian teen with a powerful secret not even she understands – when men violate her, her body bites back. Literally. From Pulitzer Prize and Tony-winner Michael R. Jackson (A Strange Loop) and Anna K. Jacobs (POP!),TEETH, based on the cult classic film of the same name, is a fierce, rapturous, and savagely entertaining new musical crackling with irrepressible desire and ancient rage – a dark comedy conjuring the legend of one girl whose sexual curse is also her salvation.” - Press Release

REVIEW: In 2007 filmmaker Mitchell Lichtenstein, the son of artist Roy Lichtenstein, unleashed his tale of a contemporary American female teenager who discovers her body possesses a physical secret when she encounters male violence, vagina dentata; a myth that is found across cultures and eras, about a vagina that has a lethal set of teeth.

In the stage adaptation of Lichtenstein’s vision, Anna K. Jacobs and Michael R. Jackson successfully retain the story's essence while making it fresh for a theater audience. In this adaptation, the lead character, Dawn's home life is restructured, with her father now portrayed as a charismatic preacher and her brother, Bard, still grappling with issues from their youth but influenced by technology rather than as a heavy metal/skinhead. These changes create a more dynamic structure for their dysfunctional family unit. Notably, the myth plays a more central role in the stage adaptation, and the supporting cast of teenage promise keeper girls serve as a Greek chorus. My guest and I both felt that the staging had a feel of Stepehen King’s “Carrie,” his novel, DePalma’s film and maybe the rival of the play. TEETH reaches its climax in a visually captivating and chaotic clash of religious conservatism and feminism, expertly staged in a way that surpasses Frank Oz's never fully realized ending in the film adaptation of "Little Shop of Horrors." Incorporating many of the contemporary social sexual issues in our zeitgeist with satire makes for an extremely entertaining and thought provoking theatrical experience.

The musical numbers were a delight. The combination of traditional Broadway musical songs and 70's and 80's pop songs in Jacobs' music was excellent. Jackson's lyrics added to the story and provided a splendid blend of humor and drama. While some of the lyrics were risqué, they never felt as shocking as something from "South Park" by Trey Parker and Matt Stone. Jacobs and Jackson provided some magical musical moments that showcased the entire cast's vocal abilities. Choreographer Raja Feather Kelly did a remarkable job in creating dance routines, despite having to work in horrific moments at times.

The production design, set, lighting, SFX, and sound designs are all of Broadway caliber. The stage design employs impressive elements with subtle movements that contribute to the narrative. At certain moments, all of these elements come together to create a truly magical theater experience. The set design takes advantage of every inch of space in bringing the story to life. Most of the play's costumes are effective, they become more creative and interesting in the final act.

The cast of TEETH is nothing short of brilliant. Lead actress Alyse Alan Louis shines in her portrayal of Dawn. Her performance effortlessly blends innocence, comedic timing, powerful vocals, and a nuanced handling of sensual scenes. Meanwhile, her male counterparts—Steven Pasquale, Jason Gotay, Will Connolly, and Jared Loftin—face a daunting task. Not only do they create memorable characters, but they also navigate multiple roles and costume changes with ease, all the while delivering captivating musical numbers that showcase their talents. This ensemble cast is truly exceptional, and one can only hope that they will grace us with a cast recording of the show.

Michael R. Jackson, the Pulitzer Prize and Tony-winner of "A Strange Loop," has created a show that is consistently selling out. My guest, who was initially unaware of the show's premise and the creative team, was astounded upon learning about it at the end. They were also unfamiliar with the source material, which left them with a strong desire to seek it out. From my perspective, any adaptation that inspires viewers to seek out the original work is a significant accomplishment. "TEETH" ranks among my legendary theater experiences, akin to my cherished memories of attending the original Broadway productions of "Little Shop of Horrors," "Phantom of the Opera," "Les Misérables," and "Hadestown," that come to mind. "TEETH" offers an unforgettable and haunting theatrical experience that should not be missed.

TEETH contains intense violence, blood and gore, sexual content, and strong language. Age Recommendation: Teeth is appropriate for audiences ages 17+. The play runs approximately 1 hour and 55 minutes with no intermission.. Performances are Tuesday through Sunday at 7:30 PM, with matinees Saturday and Sunday at 2:30 PM. Tickets are $120.00 plus $2.00 fee. Tickets are now on sale at https://my.playwrightshorizons.org/events. For more information, visit www.playwrightshorizons.org/shows/plays/teeth/#play-body.

Review By: Joseph B Mauceri

#theater #play #review #TEETH #teeth play #musical #playwrights horizons #Sarah Benson #Mitchell Lichtenstein #Anna K. Jacobs #Michael R. Jackson #Alyse Alan Louis #steven pasquale #Jason Gotay #joseph b mauceri #joseph mauceri