#its like i combined every element of each style i liked most into 1
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gift art for @luminluma's dreamscape warrior OC Luma!
#my art#gift art#very pretty oc#tried to make her look very magical#ive been trying to finalize my style For Reals lately#do ythink this style is finally unique enough to call my own?!#i think theres still some small details i'll have to work out eventually before i understand Fully how to do this style tho#for example i need to try this with a background next#after years of trying out so many styles is it finally paying off?!#its like i combined every element of each style i liked most into 1#into my very own!!!!!#but idk i say this everytime tho lol i hope this is finally the one for reals
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These have been pent up for a while, so there's a whole list lol. Some are Aurora, some are not.
1) Can lacrimas carry out multiple purposes at once? Or will they blend them? I'm assuming that this is possible, considering that the automaton in the ruins was using a lacrima as a brain
2) Has anyone tried to make tools or weapons out of lacrimas? I'm talking like chisel that needs no hammer. Or maybe a Fire lacrima on a bow that sets your arrows on fire
3) Can you engrave runes on lacrimas to make them affect themselves?
4) Where can I read more about the Twins? If I'm not wrong they're the creator gods, aided by the Light dragon and the Void dragon to create life, but I might be getting a wrong read on that
5) Since we see Erin successfully become the first Void mage, does that now mean there's potential for him to make a Void lacrima? The dragon probably won't allow it, but still
6) What exactly does elemental corruption of each element do? Fire literally burns you up, as we saw in Arc 1. I can infer that Life likely makes you a chimera. Void corruption makes you a cave crawler. But what do the other one do? Does Earth make you a statue? Does Wind disintegrate you, Thanos style?
7) Now onto the non-Aurora questions, is your art vector or raster? I believe it's vector, but it's always better to confirm
8) What are your opinions on reading into the environment and the character design to infer things about the character themselves? In any type of media
9) Have you played Baldur's Gate 3?
10) Do you have any music that you'd recommend? I've listened to every song I liked so many times that I hate them now.
11) I'm new to Tumblr, anything that I should know? You don't have to answer this one if you don't wanna. I think I know some of the basics already. Reblog what you like, and avoid the terfs, right?
You might be able to tell that I like the idea of the lacrimas a little bit. Just a teensy bit. The artificer in me definitely isn't obsessed. I appreciate any answers you can give :3
Cheers!
Ooh, lots of stuff!
Yes, it's possible. A lacrima can be engraved with multiple spells, set in a casing engraved with commands, or some combination of the two. Typically, all spells engraved directly on a lacrima will activate at once when the lacrima is "switched on", but a spell can be quite complex, and conditional activations are possible - "if-then-else" statements, basically.
Yes, magic items exist.
Generally no. If the lacrima is disrupted or broken, the spell generally stops functioning, so a self-affecting lacrima will run only as long as it takes for the lacrima to distort or break.
There's an extra lore page about them!
He probably could if he wanted to (and the Dragon allowed it) but Void energy is very dangerous, so he likely doesn't want to.
Each form of elemental corruption agitates the presence of the element in the mage's body. Earth corruption can damage or alter bones, encourage unhealthy petrification of soft tissues, etc. Wind corruption can have physical effects but it often most obviously produces breakdowns in the person's ability to speak or understand language. Lightning damages, numbs or intensifies a person's physical senses.
Raster, I draw with CSP's digital pens. I've only very briefly experimented with vector art - I don't like how it simplifies the lines.
I think it's a fun school of analysis but, like all literary analysis, it runs into trouble if it tries to lock down exactly what the writer was thinking or intending (which is an objective fact that one can be incorrect about) rather than trying to analyze the story on its own and what meaning might, intentionally or unintentionally, be factoring into it.
Nope
don't trust my taste in music it's 90% nu metal and sonic OSTs
Like what you like, reblog what you want, generally it's considered dubious form to add a comment to a reblog unless you have something profound to contribute (commenting in the tags is fine), steer clear of discourse and callout posts and generally the sectors of the site that are constantly on fire, blocking someone for any reason is 100% fine
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Writing tip of the day: not every sentence needs to be a masterpiece.
I see a lot of this in both reader and writer circles - the somewhat misguided goal of having every individual sentence be as lyrical and evocative as possible. The best writing isn't composed of flowery, baroque sentence after flowery, baroque sentence. The best writing is effective writing. And by "effective writing" I mean writing that serves the reader, not just the writer. For example:
1. Similar sentence length, structure, and craft throughout a piece gets monotonous to the reader. This is as true for overly complex writing as it is for overly simplistic writing. A series of long and convoluted sentences will make a reader "zone out" just the same as a series of short, minimally descriptive sentences. Varying the length and rhythm of each sentence keeps the reader engaged.
2. If all of the sentences are beautiful then none of them are. Think of writing as architecture. A mosque or a theater or a museum may be beautiful, but most of the building isn't composed of mosaic or gilded carvings. Those elements are held up by timber, bricks, stone blocks. And simple sentences are often just as impactful as more complex ones. Ex: "Bright black hair like a river in moonlight spilled over her shoulders, moving as she moved. He couldn't look away." There is nothing remarkable about that second sentence. But that doesn't mean it's not powerful. It supports the image you want to highlight - a foundation holding up the decorative flourishes so they don't fall in a pile on the reader's head.
3. Beautiful words don't necessarily combine to form beautiful sentences. Ex: "All but the crown of each tree lay shrouded in impenetrable fog, the once-brilliant scarlet and ochre of the autumnal forest muted by its pall." UGH. You're much better served by picking a couple of evocative words to make your point, even if you're writing in a style that's more dense, like fantasy writing. Ex: "Mist shrouded all but the treetops, turning their late-season splendor dull and pale." Or something like that. The florid color words are especially heinous. If you splash out on superficially impressive terms like "cerulean" or "verdigris" or "mahogany," that's a chunk of real estate in your sentence taken away from more strategically placed description and/or less fundamentally ludicrous words. You might even say they drain the power of a sentence. Kinda like a forest shrouded in mist.
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Something about "speed" in FPS games
Something i once wrote:
Whenever i think of the “keyword” behind retro FPS and what made them good, i feel like some people associate them with “speed”, but i think another keyword in general is “variety”.
On one hand, it applies to the components that make the game (Weapons, enemies, items, mechanics, level features etc) but on another it could also be varying situations and how they use these components (Moments of exploration, platforming, movement, maybe a bit of cover etc).
“Variety” and “speed” can still coexist and offer amazing results, while another benefit of speed is to push how advanced or impressive a game’s engine can be.
“Variety” also explains how level design can make scenarios feel different despite using the same “content”, hence why some of these classics still have mods and maps being made, as a testament of their versatility.
Because of this, i feel like modern FPS in that dark era didn’t just suck because they felt slow: Even if you try to make a milsim corridor FPS seem “fast”, you’d still be strict to barely any resource management, extremely linear levels and a non-existent enemy variety (Almost like a combination of every decision possible to put the least amount of effort into designing a video game).
(People like to blame Halo or Half-Life but even those games had interesting "sandboxes")
Because most Doom games have their own varied elements and use of them. Not only that, most Doom games have their own differences and not every Doom game follows a certain system or formula.
2016 and Eternal seem to focus on more speed, while classic Doom in comparison can be slower because it may prioritize the exploration and how the levels "control" the pace.
In a way, that explains some differences from the originals like how armor works or some enemy changes, but id still puts effort into new ideas and spicing things up.
Eternal seems like the kind of game people go “it’s almost perfect except for this” and honestly, it seems Eternal’s flaws can be natural to the game like its best parts because of the formula it establishes.
While Classic Doom can be “fixed/modernized” without losing too many essential or technical parts, if some source ports, fan patches and mods are anything to go by (As in, not referring to Brutal Doom or heavy change mods here),
In fact, i feel like some ideas that people think are “too gimmicky” or “ruin the pace” are a result of the “Doom dance” formula, as if the platforming (Which i think it’s fun) had to coexist with the combat arenas or else the alternative would be basic corridors (Since Eternal is more experimental than 2016).
(The "self aware videogamey" style of pick ups was even made for the sake of feedback during combat, even if a giant glowing helmet made of neon lights with "1 up" text above can still be weird, even by Doom standards).
Even how TAG1/2 forced the player to use specific weapon mods may be a result of how the enemy variety would have to grow in the same games where the “Zombiemen” are no longer hitscan and a Pain Elemental’s Lost Souls aren’t simply spread around.
You could even argue that dashing exists as a mechanic, as a modern equivalent to pressing SHIFT but done differently.
But then you have the Master Levels, in which most of them work because of how the roster of enemies are structured, as if some could still fit other areas of a map (While in classic Doom, even if its enemies have a less deeper system, they're still different enough that you can't just edit a Doom 2 map where you replace Imps and zombies with Revenants and Arch-viles, unless you're making a Plutonia map 32 style of map remix).
So if a Doom 6 can’t be “above Eternal”, it could still be its own thing with cool new ideas because sometimes, you don’t have to always go “more good, less bad”, when each game will always have its own ups and downs, sometimes benefitting discussion.
I feel like there’s still a lot that can be done with the Slayer “Doom Dance” style of games, but i also feel like there’s some limitations which is probably why some people are open to spin-offs where you play as different characters or outright different game formulas under the Doom name.
And looking at Doom 3’s flaws, people will point at how slow it is when a bigger issue was how repetitive some encounters felt and just most enemies lacking more unique roles (Or maybe this part alone is more to do with documentation/analysis).
Either way, i feel like simply seeing new ideas and executions/versions of those in Doom can always be refreshing and i personally feel a bit welcoming to new stuff being added to Doom as a series (Ironically despite talking about how huge Doom modding, because i guess an official Doom game has the advantage of simply being official or “canon” as opposed to a fan made mod with some cool features).
I do think some people forget that classic Doom technically had a “slow default movement” speed, whereas “running” was attached to pressing SHIFT and before source ports had the “ALWAYS RUN” command/option, MS DOS Doom had the Config File in which an exploit is how you can set the running speed as default movement.
(And stuff like outrunning your own rockets is a result of the wallrun bug, something that some ports fixed).
With Quake, you have the “Doom is for SP, Quake is for MP” mindset/phrase but it’s ironic that most traditional arena multiplayer and Quake 3 aren’t as popular, while most content Quake gets nowadays is singleplayer maps/mods, so that statement (Doom is SP, Quake is MP) feels more like a phrase some guy said and was carried like it was a traditional opinion or something.
Even then, it’s still impressive to see how a game test’s someone’s speed.
A good thing about making Doom faster is that Doomguy’s arsenal was mostly simple and then the new Doom games add weapon mods and such; This is why i think Heretic receiving a “Doom Eternal treatment” can be difficult because Corvus always had a greater/more diverse arsenal, with items that may not fit a faster style of game, though an Hexen project where the Fighter/Baratus becomes this fast brawler/punchy guy would be fun.
But going back to “ALWAYS RUN”, i always wonder if Doomguy simply having a wide arsenal of guns isn’t more significant to him than his movement speed (In which people tried to analyze as a way to determinate his canon power level, which kinda felt like adding deeper context to where the original devs never thought of none).
It makes me think of how the Marauder (And eventually, the Dark Lord) are structured: They mainly mirror the player’s speed but not the deep arsenal: Because a character with a diverse arsenal would be a good way to make Doomguy fight someone at his level but i can also see it take much more work.
Like a lot of my other points, all of this revolves around Doom being about experimentation and seeing new stuff in Doom, even if for the sake of crossovers.
It also reminds me of what i said about the Arch-vile’s main brilliance not being just the challenge but mainly the uniqueness, which is why i compare him to Heretic’s Iron Lich, Duke Nukem’s 3D's Protector Drone and Quake SoA’s Gremlin.
Another way to view "variety vs speed" is when a game has an enemy entirely defined by speed/AI in a roster where enemies are usually slow or have basic AI. Which is something that wouldn't work in a game where higher difficulties introduce stronger AI or increased speed.
To me, increasing Doomguy’s power level includes giving him weapons and abilities with different functions and stuff, not really some deep lore about his canon power level: Probably why i wish the Crucible had more going on for a “melee moveset” but at least the Sentinel Hammer had a more interesting role in comparison (This sort of thinking even applies with crossovers, even if giving the Crucible a bunch of different moves and combos would still not lead to Doomguy being playable in Smash but either way).
I guess that also applies with Hell’s demons and their abilities and roles too.
This also comes down to how Doom is technically a sequel to Wolfenstein 3D, in a way that it had to build up its formula from Wolf 3D's limitations, from the level architecture to the weaponry and enemy roster.
Because Doom in a way was complex enough to push the genre, this is probably why Quake is seen as "Doom in 3D" despite having its differences from classic Doom.
Even with Marathon, i thought a new game could have "expanded the sandbox" by adding new cool features that people would've preferred over the Tarkov clone route.
Anyway, already made this wall of text too long but at least there's some "food for thought" or something.
Some other posts worth checking:
Various Quake opinions here and here.
My take on the Dark Lord.
How Doom 1/2's demons changed in the series visually and mechanically.
This one "idea" tag just to see some ideas that i think could work in a game or at least a mod.
Edit:
A bit of an observation i might add:
Quake is a follow to Doom focusing more on the speed and agility aspects.
Modern Doom takes from Quake.
A lot of custom content for Quake is more likely to be SP based than MP.
Then there's Arcane Dimensions and others were people add more content because Quake is criticized for not having enough content.
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(My descriptions of each photo is numbered.)
1. Introduction: Custom Bleach Brave Soul Attributes
The game’s units are each given one of five attributes on the left. I believe the game would define “Heart” by gut/instinct/intuition while “Mind” umbrellas wits, knowledge, and focus.
For fun I wanted to come up with five more by combining pairs of them. However, I don’t plan on seeing more than 10 colors for these, so I won’t be mixing Mind or Heart with any of the other three. While Balance could apply to equal shares of all five, I mostly think of just power, speed, and tech.
2. Elemental Planet Associations
More often than not, in BBS’ quest menus, the five would be listed in the order I’m displaying, and because of their colors too, I ended up seeing a coincidence with (simultaneously) the weekdays, the “planets” (including the moon) the days are associated with, and the Chinese (and presumably Japanese) names for those planets. But even without the latter translations, the first three are easy enough to explain with Greek mythology or astrology, but I won’t go into that in detail.
So since I added five more (lower half), I figured I’d match them with the remaining “ruling stars” (yes even in Chinese, three of them are named after the Greek deities). In Chinese, Saturn is named after the Earth element, the “middle ground” of the Wu Xing’s elements so using “Balance” fits that criteria. But for the rest (if I failed to use color as a basis), I mostly went with what I thought a master of each element could shine best in.
3. RWBY: Grimm Eclipse
To be honest, it was Team JNPR that first made me want to start merging BBS’ attributes, because after I determined Ren could own both Speed and Technique while Jaune carried Heart, I wanted to mix the former’s into just one. That led me to start merging all the others but after I extended to all eight playable characters, this is what I determined. (And yes, I am trying to distinguish all eight.)
Originally my basis for assigning Jaune “Heart” really just came from his moon-like emblem, though Bleach does tie it with spiritual aura as well. But as his team’s leader and tactician, “Mind” would also fit him, so I mixed the two and gave him “Soul”. I also deemed Blake the better option for “Heart” since I assume being a Faunus would give her higher instincts than most humans (in case my own observations of the show don’t suffice).
It was tempting to assign Nora “Momentum” because of the pink while Yang would be “Power” (a neater choice for Team RWBY), but “Momentum” is on a basis of Power AND Speed. At least in GE, I find Nora slower than the other characters including Yang.
As long as Pyrrha has her wits and intelligence, I could get away with satisfying both planet and color associations with Mind. At least in my experience, countering enemy attacks when they’re open (circle button on PS4) does expect focus from players. While every character has that, I found Pyrrha’s one of most satisfying to use because it’s a projectile.
4. Yakuza 0 Styles
I always viewed Kiryu’s styles as “raw” in terms of the given stats (i.e. speed is speed, power is power, etc.) while Majima’s has more nuance and art, so that summarizes my choices here.
I could give Kiryu’s Dragon style “Balance”, but since the Legend style was a lofty “awakening” and more unique to himself, I figured that would be his “Soul”. But while that could also be true for Majima’s Mad Dog Legend, the latter just feels more instinctive than anything. Playing in Mad Dog myself, I feel like I can time and chain his attacks as a quickly learned “habit”, to say nothing of his mentality.
The rest of Majima’s styles are all my custom attributes, because to reiterate, they’re not just raw stat displays like Kiryu’s. While Thug would be a technical style, it’s also fairly swift and agile; even meant to be “efficient” because of its “dirty” strats. Slugger is a power style that also displays technique, or a certain handle on the weapon (how he swings or twirls the bat, etc.). I don’t need to explain why Breaker is Momentum (whether or not I can maintain the Power component).
5. Forger Family AU
This is a drawing I shared a few months back where I matched the Forgers (including my OCs) with BBS’ attributes and even elements wherever I could. If I had to use my custom labels as an alternative, the icons below would be it. But since this includes OCs that hardly anyone knows, I won’t go into detail about this group for now, though I trust the canon three should be intuitive enough.
6. Espadas
Since there are 10 of them, I’ll just entertain a one-to-one alignment. I’ll let this one speak for itself.
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The Timeless Appeal of the Vintage Arc Men's Biker Leather Jacket
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Elevate your style by layering the jacket over a crisp button-down shirt and tailored chinos. Complete the look with loafers or derby shoes for a sophisticated touch.
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Embrace the rebellious spirit of the men's biker leather jacket by combining it with a graphic t-shirt, distressed jeans, and combat boots. Accessorize with a studded belt and bracelets to enhance the rock-and-roll aesthetic.
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During colder months, layer your jacket over a chunky knit sweater and scarf. Opt for dark denim and sturdy boots to keep warm while maintaining a stylish appearance.
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Gently wipe down your jacket with a damp cloth to remove dust and dirt. For more thorough cleaning, use a leather-specific cleaner and conditioner to keep the leather soft and supple.
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Store your jacket in a cool, dry place away from direct sunlight. Use a padded hanger to maintain its shape and avoid creases.
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While leather is durable, it's best to avoid excessive water exposure. If your jacket gets wet, allow it to air dry naturally. Avoid using direct heat.
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'I'll meet you there"
( a brief history of gathering places from Stonehenge to Santiago de Compostela)
Intro
The thesis I would like to focus on is to analyze the spirit of togetherness, kinship, and the desire to be a part of a community with shared values that has always characterized the human species and how this desire translated into magnificent gathering places. These gathering places were used for different purposes, from religious to civic life and entertainment. How each end every one of these places was simultaneously a testimonial and a mirror of the societies they served.
Chapter 1 "Stonehenge"
June 20, 2400 bCE . "I'll meet you there! Tomorrow is the Summer solstice and the sun is going to rise lining up perfectly with the shadows of the stones. The whole village will be there, and people from the other villages too". If we can imagine a conversation between two prehistoric people, somewhere where modern-day England is and where Stonehenge is situated, that's probably what they were saying. Stonehenge, a structure whose purpose is still an element of debate, was used as a ritual place during winter and summer solstice, and as a burial ground even before,probably since 3100 bC(Pitts 102). The site was built with a combination of bluestones and sandstone boulders, called sarsens. The sandstones came from relatively nearby, but the bluestone arrived all the way from Wales.This is one of the most iconic places of England, a testament to the ancient civilization's need for gathering together , to celebrate the beginning of the season, the passage of time, the burial of the dead. Across centuries and millennia, we strive for the same, united by our shared values and the spirit of togetherness.
Chapter 2 Persepolis
September 12, 485 BC. "I'll meet you there!"- "Where?" "In the Apadana at Persepolis! King Xerses the First is going to make a great speech! Thousands of people are going to gather!". If you were a citizen of Persia in the fifth century BC, you might have participated yourself. The ruins of this place show us a complex citadel designed with a precise function: to serve as a center for ceremony and governance activities. (Gates, 186-7). The fact that the Apadana at the center of the complex could host thousands of people tells us about the importance that this society gave at these events.
The complex is an example of the Achaemenid style, which, like Persian civilization, was an eclectic fusion of many other cultures, including Mesopotamian, Assyrian, Egyptian, and Greek. This complex well reflects its society, where the King was the center of power and ruled with absolute authority. All the civic participation that the citizens were allowed to do was to celebrate the figure of the King. Nonetheless, the continuous contact with other cultures led the Persians to be a highly refined civilization, and the structure and decoration of Persepolis are a testimonial to this greatness.
Chapter 3 The Parthenon
August 20, 401bC."I'll meet you there!"- "Where?"- "At the Acropolis, right by the Parthenon. Socrate is going to be there; you should listen to his speeches! Fascinating stuff!" The Acropolis and the Parthenon have become symbols of the beginning of Western culture and democracy. Imagine being a Greek citizen of the era and engaging in the civic, intellectual, and artistic life of the city just by strolling around the Acropolis.
The Parthenon, originally conceived as a temple dedicated to Athena, is perhaps the first structure that comes to mind when we contemplate the concept of democracy. It has been hailed as the 'culmination of the Doric Order,' a testament to the architectural prowess of its time.
Doric Order." The refinement of this building is legendary, especially considering the counteracting that the builders did to avoid the optical illusion of bending lines ( Norwich 69). Unfortunately, as often happens to many great buildings of the past, the statues and decorations that originally decorated the Parthenon have been looted by colonial powers that took control of the area over the centuries and now display, controversially, at the British Museum. Nevertheless, the sequence of statues that used to adorn the East Pediment ( now displayed in London) gives us a glimpse of the splendor of these magnificent buildings. The Athenians were right to be proud of their achievements and ideals, just like their beautiful buildings, which are a reflection of one of the finest civilizations of the past.
Chapter 4 The Colosseum
April 20, 79 AD: "I'll meet you there!'-"Where?"- "At the Colosseum! Tomorrow is the Great Inauguration! Emperor Titus promised one hundred days of games and entertainment! They say they will even flood the stadium and have ships battling inside! There will be a sold-out crowd! Fifty thousand people! I'll meet you there!". Imagine the excitement of being a Roman citizen during the Flavian dynasty, one of the greatest periods of the empire. The old and wise emperor Vespasian just died last year, and his son, Titus, is ready to inaugurate his father's legacy public project: a fifty-thousand-seat stadium where all kinds of entertainment will be displayed. The Flavian Amphitheater was built with travertine and tufa blocks and concrete. Its exterior was decorated with worked stone, and the engaged columns flanking the arches had a different architectural order for every level. Unlike many other gathering places of the past, the Colosseum was built not for religious purposes or civic ones. It was a place to entertain the masses. The fact that the arena floor was covered in sand to soak up the blood of people and animals tells us what kind of entertainment it was. It was a mirror of the Roman society of the time: an Empire built on the military's strength and the engineers' genius.
Chapter 5 Hagia Sofia
February 27, 532AD. "I'll meet you there!" Where?" "At the Church of the Holy Wisdom! You should see its dome! It looks like it is floating in the air!" When the Christian faithful entered this Church in the early Middle Ages, they saw something never seen before. The marvel that struck them was the enormous dome that appeared floating on a void. Anthemius of Tralles and Isidorus of Miletus achieved this effect thanks to four gigantic pendentives. The piers supporting the pendentives were skillfully concealed in the aisles, and to add to the dramatic impact, forty windows at the base of the dome would let natural light reflect on the inner gold decoration. The Building is the finest example of Byzantine architecture, rebuilt by Emperor Justinian after the destruction of the Nika riots. Never like in the Hagia Sofia, the history of the Building reflects the history of the city it is in. Born as a Christian church, after the great east-west schism of 1054, it became an Orthodox church. From 1204 to 1261, when Crusaders occupied Constantinople, it was converted to being a Catholic Church, and after the Crusaders' expulsion, it was restored to being an Orthodox church. In 1453, when the Ottomans conquered Constantinople ( and changed the city's name to Istambul), the Building was converted into a Mosque. In 1935, when Turkey, under the leadership of Kamal Ataturk, was going through a period of secularization, this magnificent place was converted into a Museum. Then again, in 2020, under pressure from the religious, political right wing of the country, it was once again converted into a Mosque. Something nonetheless never changed about this Building: its magnificence and the sense of wonder that inspires everyone gathering on this site.
Chapter 6 Kaaba
November 11, 978AD. "I'll meet you there. "Yes, God willing." Faithfuls of the Islamic Religion could have exchanged these words for centuries, referring to Mecca's Holiest site, the Kaaba.
Quite surprisingly, the actual building predates the establishment of the Islamic faith. Kaaba, meaning "cube" in Arabic, was a holy site even before the birth of the Prophet. It is a simple cuboid, and in its eastern corner, there is what many believe to be a meteoritic rock set in the wall. Muslims reveal this rock as a relic. The pilgrimage to Mecca called the Hajj, is one of the five pillars of the Islamic faith. Every year, millions and millions of Muslims undertake the journey to reach the place. It is a transformative trip for the faithful, comprehensive of many precise rituals and many staggering logistical challenges.
Nevertheless, pilgrims are not discouraged and keep on coming in huge numbers. The Hajj is one of the best demonstrations of the spirit of togetherness and community that pushes humans to gather in the same place. Islamic faithful arrive from different corners of the world, with different backgrounds and social and economic statuses. They often speak different languages and have different dreams. Yet, they gather and pray in peace and brotherly love, demonstrating the importance, in human experience, of those magnificent gathering spaces.
Chapter 7 Duhram Cathedral
December 24, 1133. "I'll meet you there!" Where?" "At the Cathedral tomorrow, for the Christmas Mass." Those words could have been exchanged between two friends on a cold winter evening at the beginning of the twelfth century. We are in the far North of England, at the border with Scotland. The village is a fortification against the Scottish enemies just north of there, and the works are just finished on what is now considered one of the masterpieces of Romanesque architecture: the Durham Cathedral.
Built on the ruin of a previous Saxon Church destroyed by Viking raids, this Building was designed by William De St.-Calais ( Tatton-Brown 29-29).
Durham houses some of the earliest examples of the ribbed vaults on the nave and is, therefore, considered a precursor of the later Gothic style. Like many religious buildings of the era, the Cathedral preserves reliquaries of Saints, in this case, Saint Cuthbert, and was the destination of many pilgrimages from the surrounding areas. As often happens to many historic buildings throughout the centuries, its fortunes ebbed and flowed. In 1650, after the battle of Dunbar, this church was used as a makeshift prison for Scottish prisoners of war, many of whom died of cold and starvation. The prisoners destroyed much of the woodwork of the Cathedral for firewood. A series of restorations and renovations gave this place its status today. An inscription on nearby Prebends Bridge describes the place as "Half Church of God, half castle 'gainst the Scot".
It remains one of the greatest cathedrals of Europe and a place where people gather; fortunately, those times are in peace and quiet admiration.
Chapter 8 Notre Dame de Paris
March 28, 1345. "I'll see you there! - "Where?" -"At Notre Dame for the Easter Mass". The Catholic faithful have gathered in this magnificent building for many centuries to celebrate the festivities. It is considered one of the masterpieces of French Gothic architecture. The construction began in March of 1163, and the extensive use of rib vault ceilings and flying buttresses made this building quintessentially gothic. This new technique, especially the flying buttresses, was an engineering revolution. Those buttresses, an external supporting structure, now controlled the weight of high vaulted ceilings (115 feet) and their downward and outward pressure. Doing so allowed for grand openings on the walls, where magnificent stained-glass windows filter the natural light, creating spectacular effects of lighting and color on the inside. Despite the Church always being a symbol of the Catholic faith of French people, during the French Revolution, from 1789 to 1802, it was deconsecrated, its interior and exterior seriously damaged, and used as a warehouse (Chavis 2013). In 1802 was finally rededicated, under Napoleon. Parisian gathered in this Church throughout the history of the city: during the coronation of kings, at the coronation of Napoleon in 1804, and to celebrate the liberation from the Nazis in 1944. In 2019, the people of Paris and the rest of the world watched in horror while a fire ravaged inside and seriously damaged a significant portion of the Church. The image of everyday people crying while watching this magnificent building being seriously injured by fire is a testimonial of how we tend to identify and love our gathering places, the symbols of our faith, our city, and our communities.
Notre Dame is scheduled to reopen on December 8, 2024.
Chapter 9 Santiago de Compostela
June 6, 1425. "I'll see you there."
This time, a person of unwavering determination could have uttered these words hundreds of miles from the chosen gathering place. For this place is the endpoint of one of the most physically demanding and awe-inspiring pilgrimages of Christianity, The Way of Saint James. The journey, a true test of endurance, traditionally commences on the French side of the Pyrenees mountains and traverses the north of Spain, culminating in Compostela in Galizia. The Cathedral, a symbol of triumph and resilience, awaits pilgrims at the end of this grueling journey. It has witnessed numerous renovations, and each facade displays now a different style. The interior, however, remains a sanctuary of Romanesque architecture. The nave and the transepts boast barrel-vaulted ceilings, while the main altar houses a golden reliquary containing the sacred remains of Saint James, both hallmarks of Romanesque churches. This place has been chosen as the final gathering place for millions of pilgrims undertaking a spiritual journey . Pilgrimages are ancient rituals, a way to feel closer to the Divine. Since the ninth century, Santiago de Compostela has embraced the pilgrims with open arms.
Conclusion
The magnificent places described in this project symbolize the human need to gather, be together, and pray together. Analyzing their history and architecture, we witnessed different cultures and societies. We traveled across many miles and many centuries. Despite all those differences, we recognize that the human spirit is united in the desire to join our fellow humans. The majesty of those buildings bears witness to this desire. To be human is to be together.
Works Cited
Pitts, Mike (8 August 2008). "Stonehenge: one of our largest excavations draws to a close". British Archaeology (102): 13. ISSN 1357-4442.
Gates, Charles (2011). Ancient cities: the archaeology of urban life in the ancient Near East and Egypt, Greece and Rome (2nd ed.). London: Routledge. pp. 186–187. ISBN 978-0-203-83057-4.
"Parthenon". Britannica Library, Encyclopædia Britannica, 10 September 2021. Accessed 16 July 2022.
Tim Tatton-Brown and John Crook, The English Cathedral pp. 26–29.
Chavis, Jason. "Facts on the Notre Dame Cathedral in France". USA Today. Archived from the original on 23 October 2013. Retrieved 3 August 2013.
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Dethklok, Babymetal, and Jason Richardson in Orlando in 2000 words
On Saturday, I went to the Orlando stop of the Babyklok tour. For some reason Babymetal and Dethklok joined forces and decided to go on tour together with opening act Jason Richardson.
Having seen Babymetal 3.5 times, including every time they've come to Orlando, one would think that I would be jumping at the chance once I heard they were coming again but I hesitated. Ultimately I mostly went because I had nothing better to do that night and an acquaintance offered me a Dethklok sound check ticket.
I hesitated because now in 2023, I don't really see anything in Babymetal that I haven't seen done better elsewhere. Not that it’s bad, it just doesn’t stand out as much to me and I’ll explain why.
For me, Babymetal has been on a slow decline. Their album Metal Galaxy was kind of a disappointment and then they went on hiatus/ascended into heaven. With that, I kind of closed the book and moved on.
But I'm assuming there's too much money in the brand, so they came back. The songs they put out recently on Youtube weren't really doing it for me anymore. Then one day I was on soundcloud and randomly saw they had released their new album. That's when it hit me that I had moved on.
After listening to the album, the one track that I purchased was their song METALIZM which is a psy-trance track. I like electronic music and it felt like it was something new that I had never heard from them before. I talked to two fans in line and their visible recoil to its name was all I needed to see. If most fans are there for the metal, then psy-trance isn't necessarily something they are looking for.
The original appeal of Babymetal for me was this combination of metal and idol elements and the contrast between the two. At least in 2013 with "Gimmie Chocolate", many in the US at least had never seen anything like it. But as time went on, there were more metal idol groups like Broken By the Scream and other J-Rock bands like Band Maid. Slowly but surely, there was more competition.
And it's not like you have to only pick 1 band, but you pick your priorities. Part of it might just be changes in what I’m looking for in music.
The big downside to me for Babymetal is that they've always felt inaccessible. I get that the whole theme/style of the band is this lore heavy mysterious/cosmic presence. And sure, I did go and buy their graphic novel when it came out thinking it might shed some light on that. But then I read it and it was just a bunch of vague ideas. There are interviews, but I guess the whole “always in character” bit makes me feel like they’re kind of pointless to read or watch.
If the music isn't doing it for me and I don't feel connected to the band, then there isn't really much reason to stick around otherwise. But I decided to see them again anyway? It’s probably sounding like I went to hate watch but that really wasn’t my intent.
Long Pauses
Since the last time seeing Babymetal, I've gone down the rabbit hole with idols. I saw Broken by the Scream perform in person and I've seen countless other idol groups over live stream performances. So I was interested to experience the show with all that experience in mind. In comparison to other idol groups both big and small, Babymetal's performance is kind of weak.
So much time is seemingly wasted in the Babymetal sets with long pauses at the end of each song, with the stage remaining dark and no music in between. The members leave the stage and then come back for the next song.
For underground idol groups in particular, it's one song after another at a breakneck pace because you only have 10-15 minutes to perform and the next act immediately follows you. But even non-idol groups usually adhere to this. You keep things moving otherwise people lose interest.
I don't know why exactly they do this. Maybe it's for the dramatic flair or to say "we have so much money that we are going to take our sweet time." One could argue they need a breather/cool down time or for the band to retune and that's certainly a consideration but not after every song.
The opener, Jason Richardson, had an interesting way of handling this. Since he was only playing the guitar and using a backing track for the rest of the instruments, most of his songs had an outro/intro. This gave him a few seconds to say a few words or get a drink before leading into the next track without the music stopping.
Crowd interaction
Babymetal used to not say anything at all to the crowd, but at least the last two times I've seen them, they've had everyone bring out their phones. In this most recent performance there were quite a few times where Su-metal said thanks and asked people to sit down or jump.
The typical idol performance has 1 if not multiple emcee sections where they talk about upcoming shows, new merch, or really anything they want. This also serves as a water break/cooldown time.
There's obviously the danger of talking for too long before people lose interest, but my personal preference is either no talking and playing the next song immediately or taking a short break to say thanks at least. I also understand that my desire to see them speak is constrained by their limited English skills. But there are plenty of other limited-English speaking acts who do just fine in occupying time between songs.
The times that Babymetal interacted with the crowd were a welcome addition in my opinion, but they came off a bit awkward in execution. I don't know whether that comes down to this being only the 3rd stop on this tour or due to their limited-English ability. For example, they asked the crowd to sit during METALI but then there was never a cue to stand up or jump. Or maybe I just missed it. There were also a few times when they would raise the lights on the crowd as if it was a cue for the crowd to sing/shout but they didn't set it up and I'm not sure you'd know what to do unless you watched a show they did in Japan.
In contrast, I've seen other idols walk the crowd through an entire dance routine at half speed, then full speed practice runs before starting the song. So again maybe it's that language barrier where they feel they can't properly explain it. Or Babymetal is assuming the crowd is still diehard fans who have pre-studied the routines.
The group may not even be aware of the issue if the people at the front are all aware of the procedure and following their instructions. They may not be able to see the rest of the crowd in the dark, or hear the noise difference. I was at about the midway point between the stage and the rear which had some people rocking out but also some people who couldn't care less.
Behind the curtain
The whole mysterious vibe took on a bit of an absurd twist since during the time between doors open and through Jason Richardson's set, I could see the green room/buildings they have behind the stage. They seemed to have someone outside the door guarding it, which I guess may not be completely unheard of. But what did seem over the top was the need for a curtain to be held between them and the audience as they moved between buildings.
I get that culturally, it's more common for celebrities in Japan to restrict access to certain details from small things like their birth date, to whom they married, or even their real name/face. They have a particular image and that's the only image you're going to get.
Not that I need to know these details at all, but like is walking the 20 feet from one building to another really going to be the end? Admittedly, I've never had this kind of view backstage so maybe other artists do it too. Or perhaps the curtain was a response to what happened earlier after the Dethklok sound check.
For the ticketed Dethklok sound check, we were first let in the gate, then had to stand in a line behind some buildings for maybe 30 minutes while Dethklok did their real sound check. Then they led us to the outdoor stage where Dethklok performed Murmaider, Thunderhorse, and another song I didn't know. After that they herded us back where we were before but allowed us to buy drinks at the concession stands. Through the stand, I was able to see Babymetal in their street clothes doing their own soundcheck for Megistune. Shortly after that, the event staff told us we had to go inside a separate building and could only leave to go to the bathroom. Later on, someone from the venue stopped by to apologize and explain that Babymetal is very strict about who sees what. I'm somewhat curious whether the ticketed Babymetal sound check involved them in their costumes or in their street clothes.
Entrance song
Another stark difference between Babymetal and other idols is the stage entrance song. For most groups, this is like a minute max, just long enough for them to get from backstage to the stage. For Babymetal, BABYMETAL DEATH is a full length 5:48 long song. About halfway through I could feel my attention slipping as the members repeated their introductions. Looking back at past setlists, I see that they haven't always used this song.
Maybe I just don't like the song that much. It makes sense to have a song that can be used to tell everyone what each member's name is, since it wouldn't be dramatic enough for them to do the typical idol introduction where everyone just says their own name. I guess you could argue whether it’s a stage entrance song or just a regular song that happens to introduce them.
Prior to BABYMETAL DEATH, they had a fancy intro video that talked about the "METALVERSE" and how they had been all around the world. I feel they could've just gotten that announcer to read off their names too and skipped the song entirely.
Other issues
Babymetal does occupy a bit of a strange place in terms of idols/bands. They always have a backing band while most idols either don't have a band or only have a band on special occasions. And maybe that's to their detriment for traditional metal band fans.
During the break between Babymetal and Dethklok, I overhead some people talking about how they would much rather prefer if the members were playing instruments. Admittedly that was some of my initial attraction to BAND-MAID since they are impressive musicians in addition to making music that I like. But I'm certainly not one of those people to write off idols as not working as hard as people who play instruments.
The same person also mentioned how they weren't really digging the outfits and how young they were. I had kind of forgotten about that aspect to it and how telling people you were a fan of band in the early days would set off the pedophile alarm. Someone with them did counter that they are now all in their 20s so it’s not really weird anymore but I could definitely see that being another barrier to entry.
Dethklok
So I spent hundreds of words above saying how much I hate Babymetal and didn't want to be there, so why did I go?
I went to Adult Swim Festival 2019 in Los Angeles in part because Dethklok was performing and never performed really anywhere else. I made it like 2 songs in before I was unable to take anymore. I tried to go to the very back of the venue to sit down and I think I also tried to put my sunglasses on but the strobe effects were just too intense.
So I was here, in part, to give them another shot and two songs in, I was back in the same boat. I headed to the back of the venue stood behind a wall and faced away from the stage. It was only then that I felt like my head wasn't going to explode. The sound check turned out to be the only time when I could actually watch Dethklok so I'm glad I paid the extra money to do it.
Aside from being unable to watch it, the performance was top notch and I feel like most people in the crowd were there to see Dethklok and were enjoying it.
So at the end of the day, I will likely not pay money to see Dethklok or Babymetal in person again, but for different reasons. I think the show was still worthwhile to go to, at the bare minimum to help me figure out my true feelings. Jason Richardson was a fantastic opener and I’m definitely planning to purchase some of his songs, so that’s also a plus.
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Traditional Bottega Veneta Purses To Spend Money On
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Bottega Veneta Luggage For Women
With chunky crossover straps and a signature intrecciato wedge platform, Bottega Veneta's dark-brown leather sandals are a trendy summer season choice. The brand launched a trend jewelry line in 2002, followed by a nice jewelry line in 2006. From 2001 to 2010, Bottega Veneta's sales grew 15-fold. Bottega Veneta introduced its first women ready-to-wear runway present in February 2005 and its first men runway show in June 2006.
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Harry Archer is the Assistant Fashion Editor at Editorialist, the place he works on all issues tendencies, the newest designer drops, and investigates the connection between style and tradition. His work has additionally featured in the Gay Times and Attitude. When he isn't invested in popular culture, you will find him engrossed in a e-book, running, or doing a pink wine rendition of Can't Fight the Moonlight from the critically acclaimed film Coyote Ugly.
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One of the most satisfying Inuyasha Keychains
The plan of this Inuyasha Keychains is basic yet viable. Keychains are basic by definition, however, the producer makes this keychain stand apart with its calfskin cord. We wish there was no less than one extra element, however, it would be uncalled for to deduct the greater part a point off this keychain's plan score for that.
The cowhide cord on this Inuyasha Keychains includes no clasps, clasps, or fast delivery carabiner-style locks to append and reattach this keychain to a waistband. That leaves this keychain simply ready to be conveyed in your pocket, hence bringing down the keychain's movability score.
As this keychain is so just planned, it had no issues taking care of our drop test. All through every one of the 20 drops, this keychain gave no indications of breaking. A couple of scratches were left on the zinc combination key rings, yet this keychain looked pristine after our toughness test.
About 100 clients have evaluated the Aquaok TPU Leather Key Chain on Amazon, however, that doesn't mean this item is slipping by everyone's notice. An aggregate of 89% rate this cowhide keychain at least 4 stars. A greater part of 70% of commentators rates the keyring 5 stars, while 3% of analysts rate it 1 star.
Effortlessly confused with a Swiss Army Knife because of its forming, the KeySmart Compact Key Holder is a very versatile keychain. This keychain is worked from airplane aluminum casings and treated steel equipment, so it's worked to deal with anything you toss at it. On the off chance that you don't think treated steel is sufficiently extreme, you can buy the titanium keychain rendition of this item or even the cowhide adaptation for a more smooth look.
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While we can see the value in the thought behind the plan of this keychain, our item testing group doesn't think it works very as expected. Indeed, this keychain will hide your keys and keep them from jabbing your legs or whatever else. Notwithstanding, its plan makes it rather touchy and fiddly to add or eliminate keys to this keychain, eventually bringing down its plan score.
The KeySmart Compact Key Holder is without a doubt convenient, notwithstanding, it must be moved around in your pocket or a pack. As each other keychain in this article was decided against its transportability in a pocket as well as joined to a waistband, this keychain falls somewhat short because of the reality you can't cut it to your waistband.
Because of this keychain's material, we were somewhat astounded at how it dealt with our drop test. Contrasted with the other Inuyasha Keychains we tried, this keychain was essentially more damaged and scraped up. Be that as it may, the keychain remained completely practical all through our drop test.
The KeySmart Compact Key Holder holds keys as well as holds as many as 6,000 audits on Amazon at the hour of distribution. Just five percent of commentators rate this key coordinator 1 star, while 67% of analysts rate it a flawless 5 stars. Most clients are content with their buy.
Indeed, even with numerous testing classes, it's fairly hard to judge what is an "awesome" Inuyasha Keychains. All through our testing, our colleagues generally raised the way that the best keychain eventually turns out best for you. Whether you like to convey your keychain on your waistband, in a handbag, or stuffed in your pocket, a keychain needs to meet your requirements.
Toward the day's end, keychains are generally decided for their visual allure or stylishness. Our item testing group suggests doing your very own little research instead of exclusively confiding in our manual for the best keychains. We express this as there might be keychains that preferred suit your inclinations over those we recorded in this article, in any case, all of the keychains in this article have our item test group's blessing.
The keychains in this article went through two rounds of audits. We began via scanning Amazon for top items, seeing elements like Prime transportation qualification, client appraisals, Amazon exemplifications, and cost.
The five keychains that best fulfilled these guidelines were requested by our group for testing. A colleague tried every item, observing how well the keychain was planned, its simplicity of conveying ability, and its strength. Each keychain was given a rating out of 5 stars given these measures.
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Murakami and Ranpo
Some minor spoilers ahead for the third BSD LN, The Untold Story of the Founding of the Detective Agency." If you aren't concerned with spoilers, I did my best with summarizing the plot for anyone who hasn't read the novel.
In the third BSD LN, Fukuzawa and Ranpo are tasked with finding the culprit of an ominous death threat at a theatrical play. The threat is written as follows:
“An angel shall bring death, in the truest sense of the word, to the performer. —V.”
This threat fits perfectly with the play, which is a mystery play where each character gets killed by an "angel" who murders. However, the characters don't know if they're being killed by an angel or a regular person, because there's nothing supernatural about their causes of death (getting stabbed by a knife, poison, strangulation, etc.).
Each character was a former angel who had been banished from the celestial world, because they admired humans so much that God turned them into humans. Therefore, the characters in the play believed that an angel was sent after them to punish them for their sins.
This sets up two mysteries for us to follow:
1. The mystery of the real death threat, sent by "V" — who is the culprit behind it, who will they kill, and why?
2. The mystery within the play — is it an angel or real person killing each character, and why?
Paradoxes (and Things That Don't Make Sense)
The play is called, "The Living World is a Dream, the Nocturnal Dream is Reality," which is a quote from the real Edogawa Ranpo's work, but I couldn't find the exact source. The title proposes a paradox: reality is a dream, and dreams are reality.
Several other paradoxes present themselves in the story, but they appear most prominently in Ranpo's big speech where he solves the mystery of the play, and the murder simultaneously:
“The murder and the play’s story are connected on a deep level. This play reversed the tide of the narrative. A group of fallen angels tried to return to the heavens, but the angel of judgment tried to stop them. Meanwhile, the angel’s judgment was but a show, and the supposed victim, a human, faked it. The angel’s and humans’ roles were reversed, switching the judge and the judged. That’s the kind of play this was. "
"...the narrative is in reverse. Our structures have been swapped along with the victim and killer as well. In other words—he isn’t the killer, but a victim."
This reveal subverts the original expectation that the plot would follow two separate mysteries. Instead, the lines are blurred between reality and fiction, killer and killed, and dreams and reality because now the two mysteries are intertwined.
I think this part of the story is deliberately written to be confusing (or at least not very clearly explained) as to fit in with the themes found in Murakami's writing.
Who is Murakami?
Haruki Murakami is a famous Japanese author, and you may have read some of his famous works, "Norwegian Wood" and "Kafka on the Shore."
Since this is Bungou (Literary) Stray Dogs, Murakami makes an appearance in this light novel as the main actor of the play.
Before I go on to explain Murakami's role in the novel, I'll give a brief background on his real counterpart and explain how the theatrical play in the novel reflects the real Murakami's work.
Murakami writes in the genre of "magical realism", where the lines between fantasy and reality are blurred as magical elements are seamlessly incorporated into the story. I'll be using "Kafka on the Shore" as the main example for this point, since it's a great example of Murakami's expertise in magical realism.
In "Kafka on the Shore," there are 2 interrelated plot lines, alternating with each chapter, similar to the 2 supposed mysteries outlined at the beginning of the novel.
Like its moniker, "Kafka on the Shore" resembles a "Kafkaesque" style of writing due to its surreal elements that are bizarre and illogical in the rules of reality.
In an interview about this novel, Murakami said:
"Kafka on the Shore contains several riddles, but there aren't any solutions provided. Instead, several of these riddles combine, and through their interaction the possibility of a solution takes shape. And the form this solution takes will be different for each reader. To put it another way, the riddles function as part of the solution. It's hard to explain, but that's the kind of novel I set out to write."
The Outcome of the Play
In theme with Murakami's bizarre, magical-realism writings, several illogical events take place within the span of the LN:
1. Before the play even starts, Murakami (the character) and the rest of the cast completely disregard the death threat. Even though the logical and safe solution would be to reschedule the play, it is a very literal representation of "the play must go on" mindset.
2. Murakami gets stabbed mid-sentence, on stage by a white blade that magically disappears.
3. Murakami bleeds real blood and has no pulse, which would signify his death, but he doesn't actually die.
Despite all this, Ranpo is extremely good at observing various elements of a situation and putting them together to form a solution, much like how the interactions of "Kafka on the Shore"'s riddles form their own solution.
Ranpo appears on stage and makes an Oscar-worthy performance out of his announcement that reveals Murakami to be the culprit behind his own death. It doesn't make much logical sense that Murakami would fake his own death for a performance, but rather it's an action motivated by pure passion.
“I…,” muttered Murakami in almost a whisper. He raised his voice and continued, “I am an actor! I become someone I am not and live a life that doesn’t exist! My job is to expose what it means to be human! It doesn’t matter if I play the lead part or a minor part. It doesn’t matter if I am a villain or hero. I become them with every part of my body! There is no other job for me! This is the only way I can live!”
And here, Murakami reveals the final paradox of the play:
"But there is one thing that cannot be avoided while acting on the stage of life, and that is death! Death is not the opposite of life; it is life’s symbol and banner. However, it also provides a great paradox! Nobody alive has ever experienced it! That’s why to me, the greatest job of all would be performing the death of a person. Not death as a device or a mere convention, but real death that I could convey to the audience. That was the pinnacle of theatrical performance to me. And this is the outcome of my toil."
Murakami eventually gets arrested for the fake death threat and deceiving the police, among other things. The most notable moment after this comes in Ranpo's dialogue to Murakami:
“I thought you were amazing,” Ranpo suddenly said from behind as Murakami was being taken away. “I didn’t quite understand all of it myself, but I don’t think it’s something that just anyone could do. By the way, take a look at the audience. Look at their faces.”
1. Ranpo sees Murakami's act as something admirable, most likely because Ranpo appreciates a good mystery and had fun solving it.
2. Ranpo tells Murakami to look at the audience, to which he turns around and sees the faces of a broken audience who came to watch a play and instead witnessed a real not-so-real murder.
“You said your job was entertainment, right? But could you really call it that…when you look at their expressions?” For the first time, Murakami’s eyes showed a sign of weakness. “…I see.” A small voice, unlike what one would expect from a stage actor with a powerful voice, fell from the stage. “I was…only performing for myself.”
Murakami realizes that he traumatized his entire audience on his quest to reach the "pinnacle of theatrical performance." In his small world that consisted of just the stage, he failed to see the outside world and forgot to consider how his actions would impact others. It's also important to mention that it was Ranpo specifically who pointed it out to him.
The focus on the audience mirrors Fukuzawa's thoughts when Ranpo was giving his big speech before Murakami appeared on the stage:
Fukuzawa was at his wits’ end. From the playgoers’ point of view, the fact that people knew there was going to be a murder beforehand completely changed their view of the situation. Was it really okay to tell them that? But Ranpo showed no concern for the audience’s worries.
Ranpo, throughout the entire novel, is portrayed as this extraordinarily ordinary kid who means well but simply doesn't understand what others are thinking. He was taught that he wasn't special, but this only isolated him into his own tiny world, because the outside world was filled with things he didn't understand.
This leads to him upsetting a bunch of people by blatantly calling out things about them that shouldn't be called out, like the theater's owner Ms. Egawa, and even Fukuzawa at one point.
However, this moment when he calls out Murakami is pivotal because it shows how he's grown from this event. He's learned to be considerate of others. He's seen how he can upset other people with the things he says, and he's learned from that enough to show another person who's trapped in their own individual world.
Although Ranpo is depicted to be somewhat self-centered throughout this novel and even after it, Fukuzawa taught him that he isn't alone in this world. Because Fukuzawa showed compassion to Ranpo, a special fifteen-year-old kid who didn't know better in a world of monsters, Ranpo learned how to exist in a world where he was different from everyone else, and that was okay.
Thank you for reading! If you haven't read this LN yet, I would still highly recommend it because I didn't cover the entirety of the mystery, and it's a wonderful read to understand more about Ranpo and Fukuzawa's backstory.
#bsd#bsd meta#bsd analysis#bsd ranpo#murakami#bsd light novel#i actually read the LN a while ago#but didn't realize murakami was in it until i finished kafka on the shore
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Genesis of a Genre: Part 1
Defining the four key archetypes of Magical Girl characters found in Japanese Magical Girl media.
I feel this wouldn’t be a great body of research without outlining some kind of historical context for the media were talking about! In this mini-series of essays I’ll be going over the first part of my research, which seeks to define the key influences of the Magical Genre, including industry and production influences, and provide an outline for reoccurring archetypes and conventions found in the narratives. This focuses mainly on Japanese Media, but I might do one about the history of western Magical Girl stuff too!
I pose there are four key archetypes for the protagonist (and sometimes supporting characters) of any Magical Girl franchise: The Witch, The Princess, The Warrior and the Idol. Any given Magical Girl may be one or a combination of several; for example Usagi (Sailor Moon) is a combination of the Warrior and Princess while Akko (Little Witch Academia) is the Witch.
Girl Witches and Growing up
Many writer have cited the Witch as the first true Magical Girl Archetype; Sally the Witch and Magical Akko-chan are often regarded as the progenitors of the Genre. Both were published in the notable shoujo magazine Ribon in the 60’s and both were adapted into anime by Toei; Ribon notably also published several of Arina Tenemura’s works, including the Magical girl series Full Moon while Toei is the studio behind Sailor Moon’s anime in the 90’s, as well as creating both the Ojamo Doremi and Pretty Cure franchises in the late 90’s and 2000’s respectively. Sally was influenced by the popular American sit-com Bewitched, but reimagined to focus on an adolescent girl-witch who must keep her identity secret. She was often alone in her quest too, perhaps with a magical pet confidant, unlike future entries where Magical Girls would be a part of a team or have complex relationships to others with powers. There were ideas of destinies or even secret royal birth-rights, but ultimately the protagonist was simply a girl, who was born with magical powers.
These early entries set off the precedent for Magical Girl as a genre being inherently linked to themes of coming of age; the magic of the young characters often being allegorical for childhood innocence and ultimately being abandoned or given up as a part of their growing up. It’s notable at this point in the genre, very few or no women worked in these spaces; both Sally and Akko are written by men. I wonder how the genre may have been different if it was not the case; could these young girls be allowed to grow up magical if a woman wrote their stories? I feel this is a reoccurring theme in so many future works, so stick a pin in that.
In the contemporary sense, while Magical Witches aren’t quite as frequent as they were in at the start of the genre, there are still several shows that carry on the tradition. Ojamo Doremi, while borrowing several features from later warrior/sentai styled shows like Sailor Moon, has the lead characters as girl witches again. Madoka, though stylistically more a Warrior styled show, also alludes to the history of magical girl as a genre with the naming of it’s initial antagonistic characters being “witches” while the leads are “puella magi” or literally maiden witches, though the way it explores these themes is a conversation for another essay. Lastly, Little Witch Academia is the most recent notable example of the pure Magical Girl Witch. The franchise is like a true homecoming for the genre; I could wax on about how it’s a culmination of everything the genre’s gone through in the last 60 years. From it’s allusions to flashy transformation sequences, to it’s shift in focus to friendships between girls, Little Witch Academia is an absolute treat; it’s main character being named Akko undoubtedly a homage to her ancestor of the same name.
Idol Aspirations
As the genre progressed, women were…allowed into the magazine offices. The genre was reinvigorated in the 70’s, and with these new author came a shift in focus. Stories began to take more elements from Shoujo staples, with more focus given to interpersonal relationships and aspirations of the characters coming into place.
The Magical Idol singer is this weird niche specific thing that sort of came from this period of time, though I think she signifies more than her actual appearances across the genre. Authors for the first time wanted to create stories that reflected the goals of its readers- and at the time that meant Idol culture and aspirations of being a singer or celebrity. While contemporary examples of a by-the-book idol character is a bit rare since values have changed over time, she was the first step in magical powers for Magical Girls no longer being a part of a divine destiny or something to grow out of but instead powers being the means for Girls to achieve their goals. Magical Idol singers also often incorporate the characters noticeably aging up when turning into their alter egos, serving a duel purpose of giving younger viewers a sort of aspirational character to live through while also unfortunately allowing the animators to get away with fan servicey shots of the more mature looking character.
The originator of this subgenre would be Magical Angel Creamy Mami, though Mermaid Melody would be an immediate example I’d personally think of for the Idol type character (with a big old additon of the Princess archetype too), a better example would be the aforementioned Full Moon, in which the sickly Mitsuki transforms into a Magical Idol singer to both live her dreams as a singer and to reunite with her childhood love. I’d also argue that series the Utena and Madoka follow along with this influence; in both cases the characters agree to engage with the magic of their worlds to achieve some kind of goal or dream. Still, I feel there’s lots of potential with this kind of outlook in Magical Girl stuff..!! Perhaps in the future we’ll get more magical girls focused on their careers…
Warrior Princesses
I feel throughout this essay, I’ve been noting how the Warrior and Princess archetype often overlap with the other genres, as well as each other. I believe this is because the ancestor of these two defined archetypes is one and the same, and also the series I believe that actually started magical girl as a genre; that being, Osamu Tezuka’s Princess Knight.
Princess Knight, and bare with me on this, is a story about a Princess born with both a “girl” and a “boy” heart. She forsakes her life as a princess to escape some cruel fate that’s in store for her, and masquerades as a prince by using her “boy” heart. While this is an extremely dated view on gender, it immediately gives us three defining features of magical girl as a genre: First, the Princess archetype, which often holds influence from european fairytales and magical destinies; Second, the Warrior Archetype, in which the lead character must don a more traditionally masculine role of protector against some evil power, and lead a double life; and lastly, the introduction of gender roles as a theme into the genre, and the role of femininity and masculinity in the identities of our characters.
All of these tenets are then repeated in both Sailor Moon and Utena decades later, and it’s arguably these two series that carry it forward to influence future franchises. As the major examples of these archetypes are one and the same, it is difficult to parse the two apart, even though they are quite different.
So I’ll try anyway!
I believe the Magical Warrior is defined as a main character or team of characters who are joined by a destiny to fight against some greater evil, while the Magical Princess is defined as a character who is destined to inherit or reclaim a great power linked to a monarchical structure. Both may have themes linked to western fairytales and fantasy, though often Warrior type characters have a wider breadth of influences while Princesses remain closely linked with ideas of fantasy and fairytale royalty.
While Magical Warrior is definitely the most prolific of the archetypes in modern times, arguably overlapping with nearly every storyline, I think Magical Princesses are fewer. For example, Tokyo Mew Mew is a clear cut Magical Warrior story; they girl’s aren’t born with powers (So not witches), they aren’t doing it for a personal goal (so not Idols) and none of them have some divine destiny (not princesses). However it’s a lot more difficult to find a pure Magical Princess story; in Mermaid Melody, but the story overlaps with both Warrior and Idol archetypes. Princess Tutu might be the best example, as it’s a story of retribution deeply linked with elements from european fantasy.
#magical girl#sailor moon#tokyo mew mew#full moon wo sagashite#revolutionary girl utena#pretty cure#little witch academia#mermaid melody#essay#context#princess tutu#princess knight#ojamo doremi#puella magi madoka magica
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