we've found it folks: mcmansion heaven
Hello everyone. It is my pleasure to bring you the greatest house I have ever seen. The house of a true visionary. A real ad-hocist. A genuine pioneer of fenestration. This house is in Alabama. It was built in 1980 and costs around $5 million. It is worth every penny. Perhaps more.
Now, I know what you're thinking: "Come on, Kate, that's a little kooky, but certainly it's not McMansion Heaven. This is very much a house in the earthly realm. Purgatory. McMansion Purgatory." Well, let me now play Beatrice to your Dante, young Pilgrim. Welcome. Welcome, welcome, welcome.
It is rare to find a house that has everything. A house that wills itself into Postmodernism yet remains unable to let go of the kookiest moments of the prior zeitgeist, the Bruce Goffs and Earthships, the commune houses built from car windshields, the seventies moments of psychedelic hippie fracture. It is everything. It has everything. It is theme park, it is High Tech. It is Renaissance (in the San Antonio Riverwalk sense of the word.) It is medieval. It is maybe the greatest pastiche to sucker itself to the side of a mountain, perilously overlooking a large body of water. Look at it. Just look.
The inside is white. This makes it dreamlike, almost benevolent. It is bright because this is McMansion Heaven and Gray is for McMansion Hell. There is an overbearing sheen of 80s optimism. In this house, the credit default swap has not yet been invented, but could be.
It takes a lot for me to drop the cocaine word because I think it's a cheap joke. But there's something about this example that makes it plausible, not in a derogatory way, but in a liberatory one, a sensuous one. Someone created this house to have a particular experience, a particular feeling. It possesses an element of true fantasy, the thematic. Its rooms are not meant to be one cohesive composition, but rather a series of scenes, of vastly different spatial moments, compressed, expanded, bright, close.
And then there's this kitchen for some reason. Or so you think. Everything the interior design tries to hide, namely how unceasingly peculiar the house is, it is not entirely able to because the choices made here remain decadent, indulgent, albeit in a more familiar way.
Rare is it to discover an interior wherein one truly must wear sunglasses. The environment created in service to transparency has to somewhat prevent the elements from penetrating too deep while retaining their desirable qualities. I don't think an architect designed this house. An architect would have had access to specifically engineered products for this purpose. Whoever built this house had certain access to architectural catalogues but not those used in the highest end or most structurally complex projects. The customization here lies in the assemblage of materials and in doing so stretches them to the height of their imaginative capacity. To borrow from Charles Jencks, ad-hoc is a perfect description. It is an architecture of availability and of adventure.
A small interlude. We are outside. There is no rear exterior view of this house because it would be impossible to get one from the scrawny lawn that lies at its depths. This space is intended to serve the same purpose, which is to look upon the house itself as much as gaze from the house to the world beyond.
Living in a city, I often think about exhibitionism. Living in a city is inherently exhibitionist. A house is a permeable visible surface; it is entirely possible that someone will catch a glimpse of me they're not supposed to when I rush to the living room in only a t-shirt to turn out the light before bed. But this is a space that is only exhibitionist in the sense that it is an architecture of exposure, and yet this exposure would not be possible without the protection of the site, of the distance from every other pair of eyes. In this respect, a double freedom is secured. The window intimates the potential of seeing. But no one sees.
At the heart of this house lies a strange mix of concepts. Postmodern classicist columns of the Disney World set. The unpolished edge of the vernacular. There is also an organicist bent to the whole thing, something more Goff than Gaudí, and here we see some of the house's most organic forms, the monolith- or shell-like vanity mixed with the luminous artifice of mirrors and white. A backlit cave, primitive and performative at the same time, which is, in essence, the dialectic of the luxury bathroom.
And yet our McMansion Heaven is still a McMansion. It is still an accumulation of deliberate signifiers of wealth, very much a construction with the secondary purpose of invoking envy, a palatial residence designed without much cohesion. The presence of golf, of wood, of masculine and patriarchal symbolism with an undercurrent of luxury drives that point home. The McMansion can aspire to an art form, but there are still many levels to ascend before one gets to where God's sitting.
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Ok. I’m still trying to gather my thoughts and settle my hyperfixation after episode 3 of the Percy Jackson show, but one of my conclusions is that this is one of very few adaptations that actually understands the term ‘adaptation’ and furthermore what makes one successful.
On a fundamental level, understanding and respecting the source material is a must. You need to not just know the bullet points of the story, but you need to know the ‘why’s’- why does this story need to be heard, why do people like it, why does it stand out from the others in it’s genre, etc.
Second, you need to deconstruct the source material and piece it back together in a way that makes sense for the new format. Copy-pasting almost never works, since there will inevitably be discrepancies between the readers’ imagination and the adaptation that can distract from immersion.
Third, you need to provide something new. Why does this story deserve to be told in a different format? What can this add to the original themes of a story? What can we change to make the message come across more on screen? Will this dialogue really be as funny when it’s said out loud?
We’ve seen a lot of terrible “adaptations” of animation and books and musicals into movies/tv shows, and I think even among the better ones there is a dissonance between the desire to stay faithful to the source and the desire to make a good adaptation, with whatever changes that may necessitate.
I think while we’ve watched the casting of this series, the hints here and there, and final the premiere with bated breath, they’ve been playing the long game. They cast Walker as Percy before he was in the Adam Project. Many people expressed…unsavory…feelings when Leah was cast as Annabeth, but those of us that trusted the team behind this project- including the author himself- did our best to welcome her and were repaid tenfold with her performance in this episode particularly.
Most of the scenes in this episode were not at all how I imagined them in the book, but I adored it. They took what they were given and expanded on it. They created a mini-arc for the trio learning to trust each other. They gave Medusa a labyrinthine lair. Annabeth is a 12 year old walking into a convenience store for the first time in 6+ years with $200 in her pocket, of course she’s gonna buy as much as she can carry.
The love and care and artistry that went into this single episode brings me so much joy and gives me so much hope. Like I was already excited for a faithful adaptation, but seeing these characters come to life on screen, once you see their chemistry with each other and how they speak and push and pull at each other’s emotions, it has never been more clear to me the amount of care and foresight that went into this show.
Rick said that these kids are the characters he created and for like 2 years I’ve trusted that that was true, but today it was proven beyond the shadow of a doubt.
I am just…in awe.
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Things my dad has done for me in the last week that have made me want to cry:
1) gave me a bag of quarters that he's collected from the change he saves, for my coin laundry machines
2) noticed my bass guitar case was starting to fall apart and took photos of the measurements of the guitar for me as reference. And also pointed out what's gonna give me trouble in finding a case (slightly weird shape as a semi-acoustic)
3) i mentioned by frustrations with my weak pinkies when it comes to fretting, and he turns up with some old racket balls he's had kicking around fifteen minutes later
4) every single time the neighbors cat was on the porch, he bugged me and my sister about it to go visit him (he does not want a pet cat whatsoever. However he will sing out of tune at it)
5) bought me LED plant lights for Christmas, because he knows i hate online shopping too my absolute core, and remembered me mentioning them
6) he always checks my car's oil before i leave, since i have a bit of a drive ahead
7) whenever someone is sitting with the dog on the couch, he tucks him in with a blanket. Without fail
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GB Patch Games: 2024 Intentions
[Adorable guest art by @dreamtydraw]
Welcome to 2024, everybody 🥳️
This is the year of Our Life: Now & Forever (and 2025 will be too, but let's not get ahead of ourselves that much). After a good five odd years of making Our Life: Beginnings & Always content, it's amazing to look ahead and see only the progress that will be done on this new game. Qiu and Tamarack are the center of the GB Patch Games universe now. But even though I'm not creating any new OL1 scenes, there may still be some exciting developments for the existing stuff. Cove hasn't been forgotten.
💚❤️️💙
If you want to know about what will be accomplished specifically in January, you can read that HERE. Now here's the entire year's goals-
Honestly, 2024 is gonna be the most basic year in a very long time, haha. There's not gonna be major launches of new DLCs, or a full game going live, or any bonus Moments. It's simply making progress on OL: N&F. That's pretty normal for game development. It's just not something we've had to go through since 2019. But we're hunkering down for the long haul on this one.
Specifically, Step 1 will be fully completed in 2024 and I'll make as much headway into Step 2 as possible. There will be two updates to the public demo, one probably in May and another sometime in Fall/Third Quarter 2024. Those will focus on Step 1 scenes still. I can't guarantee we'll be able to rework the Step 2 part of the demo with new content this year. As it is, the content was made to be a demo preview. A lot is gonna change for the complete version.
And that's about it for our main game. I appreciate all of you who decide to follow along with the process.
Beyond that, the Our Life: Beginnings & Always digital artbook is going to become available through Steam and Itch.io in early 2024! Maybe not January, but ideally no later than February.
Finger's crossed, we will also launch Our Life: Beginnings & Always for Mac on Steam and make it available for Androids through the Google Playstore. I can't state it with confidence, since there's constantly been roadblocks/issues with those, aha.
My final little note for this coming year is that, potentially, there could be more information coming out about the game that's going into production after OL2, "Project W".
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And that's what you can look forward to. Every year I'm amazed I can continue to do this as my fulltime job. I'm always wondering when that will end, but I'd be lying if I said I could see that point. The support GB Patch Games has gotten, and still gets each day, is more than enough to for it to continue for the rest of OL2's development.
I'm pretty confident in assuming that when that game does launch it's going to be successful enough for Project W to go into full production. It's a truly wonderful thing. Thank you so much for being here. We'll do our best with the time and attention you've given us.
Happy New Year 🥰️
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