#particular civil

[prettyboykatsuki]

I’m so sorry if this is out of pocket but I need to know how hairy fujoneet reader is……. You mentioned her having bush already but what about everywhere else…

JKSDHFJS i do not want to get too detailed so people can still project but she virtually doesn't shave at all so do w that what you will. she tries one time for rin after they start dating and it hurts so bad she cries to him and he ends up finding her so pathetic they fuck again while he explains he could not care less.

so all in all as hairy as u wish to believe. her skin is too sensitive for that and rin would huff her no matter what

#return to sender #fujoverse #rin catches her snivelling in the bathroom because she cut herself with a razor trying to shave #he like. helps her out of course and then fucks her to the point of stupidity cause he found her sniveling sooo endearing he wanted to die #i love them so much because like. fujoneet reader in particular makes rin act like a caveman #he is not like that. at all. he is a civilized and normal and every other person #he's ever had anything with would describe him as kind of detached #turns out rin just was never all that into them at least not even close to how much he likes her #fujoneet reader turns him into some kind of beast and he HATEEEES himself over it and it IS so funny. i have to write them soon

[imminent-danger-came]

IVE ONLY SEEN ONE PERSON POINT THIS OUT BUT MK TRIES TO PUNCH MACAQUE DISGUISED AS WUKONG BEFORE HE EVEN REALIZES ITS WUKONG. I CAN FEEL THE MK AND SWK FIGHT IN MY BONES. Also can you imagine with like that one art post Mei asks MK who HE wants to be, not a reflection of somebody, not the Monkie Kid, not the Harbringer of Chaos and HE REPLIES WITH HIS REAL NAME I WOULD GO INSANE

I'm like. 85% sure that person was me afasdfafsd. I know I've mentioned it before somewhere!

Because it's like, MK feels extremely abandoned and hurt by Wukong during s2. MK's line of "Fine! Then just leave! At least my friends will never abandon me!" in 2x01 Sleep Bug is VERY telling, and it also makes me sob when put together with 3x10 The Samadhi Fire:

MK: "NO! Mei is my best friend—I'd never abandon her when she needs me! We're heroes! It's what we do!"

And 4x02 New Adventures:

MK: “You don’t know! We’d risk it for sure! I won’t abandon them when they need us.”

MK's own low self-worth combined with Wukong's tendency to leave in the worst way possible, which was only further exacerbated by the Lady Bone Demon's manipulation.

And I think MK's experiences and feelings throughout s2 made him resolve to never make his friends feel abandoned.

But of course, since this is Lego Monkie Kid, it's more interesting than just that—because MK leaves at the end of s4. It was out of fear, sure, but so was Wukong leaving in s2 and at the end of s3. MK does exactly what he set out not to do, making the same mistakes his mentor has, literally going to isolate himself on Flower Fruit Mountain for an undetermined amount of time.

It's things like this that make the question of "Who is MK" so intriguing, because that's who MK want's to be. He want's to be himself. But who is that person?

Is MK just like Wukong? Is he a harbinger of chaos? Is he just a noodle delivery boy? Is he Monkie Kid? What if you remove all those labels? What's left? What is he?

(Plus the whole "I just want to be me—to be MK!" "Yeah well...we all know where that leads." interaction between MK and the curse in 4x07)

And now that we've thrown MK's mysterious past and ominous future into the mix, we are in for a FULL on identity crisis spiral next season.

And well, when it comes down to it, MK was willing and ready to fight Wukong in s2. The lmk writers are fantastic at paying off several arcs all at the same time (see all of 3x10, which literally had the culmination of Mei's, MK's, Wukong's, and Macaque's arcs all in one. It's fucking phenomenal), and this is partly due to the time constraints of the show as a whole, but it's also just damn good writing. MK's past, his identity, the hurt he's experienced across every season—that's all going to come to a head. I also imagine it's going to happen right along side Mei, Wukong, and Macaque's arcs once again, because that's just how this show do. It do insane shit.

I also happen to be a believer in "Samadhi Fire Part 3", in which we get another 3x10 and 4x08 parallel to round it all up, and I am waiting, WAITING, for Mei to repeat MK's words back at him:

“Mei! You have to stop. I know you’re upset, and that’s okay! I know what it’s like to have a power you don’t know how to control—to feel like the fate of the world is in your hands and you have no idea what to do! But you always have my back, and help me through it. We, will figure this out! Together!” (3x10 The Samadhi Fire)

((Which, MK himself is repeating Mei's words back at her, with "But we're going to figure this out." I NEED A POSITIVE FEEDBACK FRIEND LOOP BABY))

But yeah. I'M WAITING MAN. WE HAVE THE SAME BONE FEELINGS.

#In my heart of hearts. I want MK to beat the SHIT out of Wukong #And then I want Mei to stop him #Like please please please #THE SET-UP'S ALL THERE #AND THAT'S WHAT MAKES ME INSANE ABOUT THIS IN PARTICULAR #Cause like. Me? I'm a really big fan of set-up #I was watching She-ra with my friends tonight and we're finally at the rushed Catra redemption #Complete downward spiral in s4 and 2 episodes into s5 she's all of a sudden cool with Glimmer #And Glimmers cool with her. Despite the fact that Catra was the one who basically killed her mom. And her planet. #Like hello #I know you're both alone but things should not have resolved this quickly #Like we literally waited 4 seasons for shadowpeach to even have a civil conversation with each other #But again that's because lmk actually knows what set-up and payoff is #Like. If I watch She-ra give someone else an unearned character arc ONE MORE TIME. WHERE THEY JUST SUDDENLY GET BETTER. #I'LL LOSE IT (< knows they have 10 more episodes of the show doing exactly that) #asks #lmk analysis #lmk #lego monkie kid #monkie kid #lmk MK #shera critical #since I complained in the tags #you know how it is

[lovelyjasmari]

Just a daily reminder: objectively pointing out a characters flaws/expressing dislike of them in a civil manner is NOT the same as attacking ppl who like said character.

#no this isn’t directed towards anyone in particular #yes this is abt something I saw on the bird app #maybe im just built different but I fully welcome civil discussion abt my favs and their flaws #or maybe I’m just old and have been in fandom spaces for too long lol #shut up jas

[gatheringbones]

it was useful for me to realize that whoever my inner bigot is (my inner racist, my inner transmisogynist, my inner classist/ableist, etc.) it nearly always thinks it’s helping

#which is all part of my particular conditioning as a bigot #that healer fixer civilizer thing #my role is to sit in a space and radiate correct behavior

[dollsome-does-tumblr]

tedbecca-wise, what i want from our remaining episodes more than anything is for ted and rebecca to just get to have a good time together. have a lot of fun! feel seen and cared for! they’ve both been dealing with such loneliness and pain and disappointment and i just want them to get to absolutely roll around in the joy of each other’s company!!! (maybe literally, absolutely metaphorically.)

#please let our bbs be happy!!!!!!!!!!!!! #they've been lonely too long!!!!!! #(yes i went a little 'dust to dust' by the civil wars about it) #which this season in particular has really been making a Point of and it hurts!!!! #dollsome's deep thoughts #tedbecca #ted x rebecca #ted lasso #ted lasso spoilers #(not really but i'm just slapping that on everything at this point)

[birdmenmanga]

@raventhekittycat

hi okay so I've been mulling this one over for the past day or two and I think I have the answer. not to be using hamburger to explain anything to an american but you're my detco mutual so I'm going to try and explain it in detco terms

There's a post going around recently about how if you've read detco and only detco, the first time hakuba shows up you're going to be totally flummoxed, because damn this guy is clearly important, he gets to be even cooler than Shinichi, he's got a half-page shot of him (in such a panel-dense series such as Detective Conan, no less!!) and he's got a fucking hawk. he's CLEARLY important. everything about the narrative is indicating that you need to PAY ATTENTION to hakuba and that he's the coolest guy and he's important!!!! and then he dies in the case lol (not for real. but still.)!! and you're like huh??? what was that. why did aoyama do that.

But with the context of magic kaito this totally makes sense. He's a beloved character that people have been waiting decades to see again. Of course Aoyama is going to hype him up!! It's his big moment after years of being locked in the backrooms!!!

Anyways reading birdmen for me was kind of like that. The author's previous series, Kekkaishi, was pretty one-dimensional at the beginning, and even after the main plot started picking up at around volume 6, it still felt quite understandable. I knew what she was trying to get at, and the spectacular job she did with the anthropocene and climate change metaphor towards the end of that series really made me interested in the rest of her works. That and the way she writes familial relationships is absolutely DEVASTATING. (I mean this with the highest of praise)

But when I read BIRDMEN for the first time, I was probably in... middle school, maybe? And I read it, sure, but I didn't get it. I could see what was literally happening on the page but the narrative choices were absolutely baffling at times. Why skip over the entire part of the plot where they figure out who the birdman that saved them was? She blatantly doesn't care about that. What does she care about then?? I knew I didn't get it, I knew there were parts of it that were important and I couldn't figure out why and THAT'S how it dug its pretty little claws into me. Even after I finished catching up it nagged at me a little bit, not often at all, but enough that every once in a while I go, huh, right, that was a thing, let me go read it again.

For the record this type of story haunting has happened to me twice. First time was the Heart of Thomas, second time was BIRDMEN. I think the thing is that these are both stories which are not what other people say they are and I think I came into both of these stories with a misconception, trying to look too hard for things that weren't important and therefore missing the things that were.

Because sure, BIRDMEN is about mental illness. Yeah, it's about an evil scientific organization growing mutants in a lab. Yeah, it's about what it means to leave your humanity behind. That's all technically correct, on a surface level, and the fandom at large likely agrees with these takes for the most part, but in my opinion none of that really delves into what the thematic messaging of the story is about.

There are cryptic conversations about authority and human extinction and peculiar outfit and ability choices. You can tell these choices weren't made to serve the purpose of "writing exciting shonen manga" because that was what she did for the most part in Kekkaishi and you can tell she wasn't putting her whole pussy into doing that here. So what was she doing? What's like. All of this. Waves my hands at this.

The short answer is that it's really about the interplay between capitalism (represented by humanity) and communism (represented by birdmen), and explores the role institutional white supremacy (EDEN) plays in enforcing capitalism. It is ALSO about queer liberation and the importance of community, but hey, that double-stacks conveniently with the communism metaphor.

But also take this opinion of mine with a grain of salt. As far as I know I'm the only one who really truly deeply believes that it is not only AN interpretation of the work, but one that was fully intended by the author.

So basically, I like it, because I think it says something true and beautiful that I also believe in, even if I didn't have the words for it the first time I read it. But I don't really think that's what people really look for in a media recommendation.

Do I like it? Yes, I love it. Will I recommend it to others? Yeah, sure. But do I think it's deeply flawed? Yeah, absolutely. It's flawed in the same ways as The Witch from Mercury— a rushed ending, too many threads that were opened and never tied together. The pacing and characterization is perfect in the beginning, and too rushed at the end. There are prerequisites you basically HAVE to read in order to understand the story (tempest for G-Witch and the communist manifesto for birdmen). I think a truly good story wouldn't have any of these things so if people don't like it I never blame them.

It's my personal experiences that make birdmen so profound to me. If you are not queer I just don't think Eishi coming out as a birdman to his mom will hit the same, just as an example. Sorry that I wasn't the kid you wanted me to be. I know you love me and you just want the best for me and that's why you're so controlling, because you think I can be saved by conforming to societal expectations. But I can't live like that. I can't be like that. And that's why I must go. etc.

Aesthetically I do love birdmen a lot. If I had to describe it in a few words it would probably be "chilling", "beautiful", and "powerful", which nicely coincides with the type of things I personally like to draw. It's also silly to a small degree but it's so serious and I know Tanabe can be way way way funnier (read kekkaishi for this. kekkaishi and hanazakari no kimitachi he were foundational to my sense of sequential art humor) so that's not really the standout trait of this series.

I can't let it go because I'm chewing this series like a bone. And it's taking me years but I am getting that sweet sweet marrow. By god. We are on year 3 of this shit and I am GOING to understand this series. and I'm going to make 3 video essays about it

#just thinking thoughts... #stray bird thoughts #so it's like... I don't like it because birdmen is good #I think I like it because I am a certain type of person and the author was trying to say something specifically to the type of person I am #OH #I'M THE TARGETED AUDIENCE THATS WHY I LIKE IT. #YEAH THATS REALLY IT!!! #A long time ago I said that birdmen wasn't written for the people who read it at the time it serialized. #it was written for the people they would become. #and I stand by that 100% #if it really stays with you there is going to be a reason even if you can't articulate it yet #and it may APPEAR sloppy to someone who doesn't see the queer or communist metaphor #like 'what is she doing what is she saying here she's not saying anything meaningful and emphasizing the wrong things' #but that sort of presumes she is gunning to make 'the best shonen manga ever' #which she clearly isn't. #I remember when I was reading fma with a bunch of my classmates and I'd lend them a volume or two every day #and a piece of feedback I received that has stuck with me was 'volume 15 was so boring' #(that was the volume recounting the ishval civil war. it was boring because we were middle schoolers and didn't REALLY get it.) #and like. I think to people who are looking for something like kks. the whole thing is going to feel like fma volume 15 #like WHAT is she going on about? ? ? #like witch hat and dunmesh I think are similar types of stories but I think these two are just executed way better than bm #but because of that it is just not as compelling to me you know. #like yeah yeah it's well constructed. we all see it's well constructed. #the metaphor is so well constructed that I don't feel the need to point it out. everyone is saying it already you know #but bm is cryptic enough and just slightly missed that execution enough that I feel like I'm pulling the analysis out of a smoking wreckage #recently I've been watching mentourpilot videos about airplane accidents and like. that's exactly it. #there's nothing to say about a perfectly executed flight. #it's the ones that failed. and in particular the ones that just barely failed by a little bit. that compels people the most. #cue my de communism is failure post. bc that bm sure did fail.

[because-why]

been re-reading hs lately and truly forgot how much of Hivebent is just Vriska Serket’ And The Terrible, Horrible, No Good, Very Bad Day

#it just keeps going so bad for her #she really gets whats coming frankly #but god is it excruciating at times LOL #is it bad i feel bad for her #she did some awful shit but to be fair was being manipulated herself #am i on the vriska serket defense force yet LOL #she was a dumb teen egged on by the grown man who fostered her civilization!!!! #is she a bad person yes will i defend her for these particular faults #yes #maybe #kind of #vriscourse #vriska #homestuck vriska #vriska serket #homestuck #homestuckspoiler

[miyagi-hokarate]

Cobra Kai truly has some of the most Wiggles ass color scheming in its costuming design sometimes, but when it hits OH MAN DOES IT HIT..

#They keep drowning Daniel in blue‚ but☝️I cannot resist a good blue button-up + red flannel pair #Not to mention 😏😏😏 Purple 😏😏😏 #Also of course I mustn't forget the ever so iconic Season 2 finale fight. ROY G BIV civil war #Wait I'm going to make a post about a particular thing in a second #Cobra Kai #Miyagi-horiginal

[zorciarkrildrush]

It bears repeating that where there's Islamophobia there will invariably also be antisemitism, either disguised as only hating the wrong type of Jew or bare-faced. Where there's antisemitism, there will invariably also be Islamophobia, bare-faced or disguised as only hating the wrong type of Muslim. If you assist a movement that harbors one or the other, the end result will be both. Terry Pratchett, via Granny Weatherwax, made it a point to tell us that it starts with treating people as things.

#selfpost #I need to do a re-read of discworld because the amount of kindness in that series is astounding #hope and love for humanity is what will save us #how was that man so hilarious and so fucking razor sharp with politics and racism and war and gender and fucking #the role of police in society and during civil unrest in particular #forever a role model #antisemitism #islamophobia #I was reminded today of that bellend Geert in the Netherlands #support Israel all you want I know you fucking hate us #you just like dead arabs more #we are all things to you either way

[wewontbesleeping]

i love seeing a really good movie and then trying to just go about your life. like ok, i have stuff i need to do, sure. but i just existed in a reality for two hours where everything was different and it made me feel a lot of things. so.... i can't be normal right now, sorry.

#civil war was so fucking good #i keep thinking about how it's told through the war photographs #and i keep coming back to one particular scene that made me almost throw up in the theater bc it hit me so hard emotionally #and i keep thinking about it as i'm trying to do my history assignments lmfao #also? i'm so obsessed with kirsten dunst i have to say it #she is everything!!!!!!

[ynhart]

Something really funny is when I get comments like "LMAO people who do Jesus fanart unironically exist???????" I mean.... Humans been doing it since 2000 years ago my dude 😅

#like have you ever been to a musesum.....? #it's just basic culture and history....... #once in a while people reblog with weird tags and I'm like judging hard lol #nevermind I just find it funny #like helloooo religion is not a random trivial thing #we literally have 2000+ years of history and western civilization is foundend upon christianity in particular... people don't know that...?

[ereborne]

Hello, happy holidays! For the End of the year ask meme if you'll like to answer any of the following: 8 (game of the year), 25 (a character you created), 14 (fav book), or 18 (a memorable meal)

Happy holidays! I hope they've treated you well <3

8: I don't play many games myself (only Stardew Valley, Minecraft, and silly seek-and-find puzzle games) and my laptop was too tuckered for games for most of the year, but even if I'd been farming nonstop I think the game of the year would still be Final Fantasy VII Remake. Pretty sure it'll be the game of every year until it's all out, and then maybe a couple years more for good measure. I am having such an incredible time following the game as it comes out and @kaylithographica plays through it, and I can't wait to see how Square Enix keeps going with the meta and story changes.

25: Some of the more complex edits I've been trying to work on this week actually revolve around a particular OC, so we'll talk about her. Her name is Mercy, and she was not supposed to be important (folks who have lived with me may be familiar with this refrain). She was supposed to be a filler character! She's an archetype! Her name is Mercy and she has none! Grr rar tragic backstory vengeance quest knife collection! But nooo now she's got layers. She's got depth. We're emotionally invested in her character arc. Damn it. Anyway she befriends her local main characters to use them as pawns in her revenge plot, spends a lot of time with them waiting for them to vouch for her to her target, gives up her first chance at revenge because she has to go save them instead (in a scene so terribly close to the classic 'stand at crossroad, look longingly at selfish goal down the left, turn back fully on goal to run to friends down the right path' that I may rewrite it to avoid cliche shame), and then eventually gives up her scheming entirely because it would be too much of a betrayal of her very best friends the main characters. She was supposed to die in the first rescue, and then the whole story locked up and I had to go back through trying to find the writer's block instigation point, and I realized I've made too optimistic a world to kill her off without friends or redemption. She's (big sigh) thematically significant now. At least she's also very cool.

14: I'm going with my favorite book that came out this year, to help narrow things down: "The Innocent Sleep", by Seanan McGuire. Seanan McGuire is one of my favorite authors and this is my favorite of her ongoing serieses, and usually we get one a year (usually just in time to be my birthday present to myself! a joyous coincidence) but this year we got two. "Sleep No More" and "The Innocent Sleep", paired stories, one from Toby's point of view and one from Tybalt's. The current state of their world means that these two POVs of the same happenings are wildly different, and it's fascinating (a little heart-wrenching sometimes) to see. Also, Tybalt and his friends dimension-door into Costco in the dead of night and steal all their catfood. It's amazing.

18: The vegeble man had a special on collard greens one time, and I bought a 'bundle' thinking it was your standard grocery-store greens bundle, a generous handful at most. It was more like an armful. Apparently the special was because they'd been sold a literal truckload of greens (perfectly good but disqualified as 'organic' by some neighbor shenanigans) and needed to offload them quickly because the fridge wasn't ready for such a bumper crop. I cooked them in batches with andouille sausage and bacon and just a touch of this amazing miso ghost-pepper hot sauce Duncan has, and we ate them for our next four meals (with grits, with cornbread and grilled tomatoes, with fried eggs and beer bread, and then the last of them mixed into red beans and rice). I really miss not just Southern food but access to Southern ingredients (the 'andouille' sausage I get here is pitiful, and bacon is no substitute for a proper salt-ham, and neither is beer bread always a good alternative to a buttermilk biscuit or quickbread) and it was so nice to have a proper mess of greens again.

#asks #sunkentowers #I would pay such absurd prices for buttermilk if only I could /find/ some up here. milk-and-lemon-juice is not the same. #apparently 'mess' as a quantity of food items is also a particular American Southernism #a holdover from the civil war it seems like. when they got a teeny little stipend rather than proper rations #'mess-mates' would pool their food money and buy enough of whatever for the whole group to eat #so a 'mess' of food is roughly enough for four-to-six men. a mess of greens fills a big pot a mess of bacon is a six-inch-thick slab etc #I can tone down my accent when I talk so the folks in the office won't judge me but sometimes the word choice outs me anyway

[the-far-bright-center]

‘Revenge of the Sith may be the greatest work of art in our lifetimes...’

(an excerpt from a long-deleted blog post, archived here)

“Revenge of the Sith is still (and probably always will be) the greatest thing that will ever come out of the Star Wars franchise. I always go further, in fact, and say that it’s the greatest thing that will ever come out of big-budget, action/fantasy cinema at all. George Lucas’s final contribution to his Star Wars legacy—2005’s final prequel offering—was not only an artistic, cinematic and operatic masterpiece, but it was the ultimate, consummate manifestation of everything Star Wars was capable of being and, for that matter, everything that big-scale cinema is capable of being.

It literally does not—and probably can’t—get better than this ever again.

Lucas, who himself pretty much set the standard and invented the genre in 1977, had now taken us to the absolute zenith of what that genre of film-making could produce.

Epic, ambitious, stunning, moving, nuanced, and everything else, it was the glorious completion of Lucas’s original Star Wars saga that I had been waiting for—and something for which I will always be immensely grateful George Lucas came back to film-making to give us. I have already made the case at length for why Revenge of the Sith was an absolute masterpiece of staggering proportions, so I’ll refrain from re-stating here all the ... reasons I eternally bow at the altar of that film and its unfairly maligned architect.

People who didn’t get it or still don’t get it probably never will get it.

I’ve given up arguing with those on the tedious backlash bandwagon, those who join in with the Lucas-bashing for the sake of YouTube channel views, or those who, like [spoilt children] throwing a tantrum, bitterly disavow George Lucas and whine about how the prequels ‘ruined Star Wars’.

Someone who did get it, however, was the noted author and social critic Camille Paglia: she of course famously declared a few years ago that George Lucas was the greatest artist of his time and specifically that Revenge of the Sith was the greatest work of art in the last thirty years.

The respected, if often controversial, academic Paglia didn’t argue that Episode III  was merely the best movie of the last thirty years… but the best work of art in any genre and in any medium.

[...] Predictably a lot of people either assumed Paglia was being sarcastic or they simply pooh-poohed her conclusions. Paglia, however, was not trying to be ironic, and she has reaffirmed and defended her position over and over again and with a passion—Lucas’s final Star Wars film, she maintained, is the greatest work of art in the last three decades.

[...] I cannot think of any film in any genre that has been as absorbing or as immaculate (or as ambitious). Even just conceptually, what Lucas tried to do with the prequel trilogy was staggering and is without any parallel. And while we could argue that the execution was off-the-mark in certain places, the sheer visceral power and broad artistic value of what he did manage to create—even with its various failings—puts Lucas’s saga (and ROTS in particular) into a different stratosphere entirely.

In her own view of it, Paglia especially focuses on the final act of the third prequel—the climactic finale centering on the extended Anakin/Kenobi lightsaber duel against the dramatic lava backdrop and the extraordinarily powerful way that the birth of the Skywalker twins is juxtaposed with the ‘death’ of Anakin and ‘birth’ of Vader. That latter sequence, by the way, in which the death of the mother coincides (and even feeds into) the birth of the ‘dark father’, all of it underscored by John Williams haunting, gothic choral/hymn composition, is just one example (among many) of Lucas’s extraordinarily acute and nuanced levels of vision.

‘The long finale of Revenge of the Sith has more inherent artistic value, emotional power, and global impact than anything by the artists you name,’ she said in this interview with Vice. ‘It’s because the art world has flat-lined and become an echo chamber of received opinion and toxic over-praise. It’s like the emperor’s new clothes—people are too intimidated to admit what they secretly think or what they might think with their blinders off.’

Speaking to FanGirlBlog, Paglia continued her celebration of Lucas’s final masterwork, saying, ‘I have been saying to interviewers and onstage, "The finale of Revenge of the Sith is the most ambitious, significant, and emotionally compelling work of art produced in the last 30 years in any genre—including literature".

Paglia’s assertions flowed from her 2012 book Glittering Images: A Journey Through Art from Egypt to Star Wars, which in part addressed the problem of modern cultural ignorance and the author’s worries that 21st century Americans are overexposed to visual stimulation by the “all-pervasive mass media” and must fight to keep their capacity for contemplation.

In the book, Paglia discusses twenty-nine examples of visual artwork, beginning with the ancient Egyptian funerary images of Queen Nefertari, and then progressing through various artistic works, including creations from Ancient Greece to Byzantine art and Donatello’s ‘Mary Magdalene’.

She explained, ‘Lucas was not part of my original plan for Glittering Images, which has 29 chapters crossing 3000 years. My goal was to write a very clear and concise handbook to the history of artistic styles from antiquity to the present. When I looked around for strong examples of contemporary art to end the book with, however, I got very frustrated. There is a lot of good art being made, but I found it overall pretty underwhelming. When I would happen on the finale of Revenge of the Sith, I just sat there stunned. It grew and grew on me, and I became obsessed with it. I was amazed at how much is in there—themes of love and hate, politics, industry, technology, and apocalyptic nature, combined with the dance theater of that duel on the lava river and then the parallel, agonizing death/births. It’s absolutely tremendous.’

Paglia also entirely recognised the sheer scale of Lucas’s creation and the value of even its various constituent parts as important or worthy works of art. ‘The fantastically complex model of the Mustafar landscape made for the production of Revenge of the Sith should be honored as an important work of contemporary installation art,’ she argued. ‘And also that Lucas’ spectacular air battles, like the one over Coruscant that opens Sith, are sophisticated works of kinetic art in the tradition of important artists like Marcel Duchamp and Alexander Calder. No one has ever written about George Lucas in this way—integrating him with the entire fine arts tradition.’

The problem is that Lucas and the prequel trilogy have become so widely misrepresented as ‘bad’ that most people don’t know how to deal with someone like Paglia sincerely proclaiming “Nothing in the last 30 years has been produced—in any of the arts—that is as significant or as emotionally compelling as Revenge of the Sith…”

[...] In fact, contrary to widespread misconceptions about how the Star Wars films are viewed, a Rotten Tomatoes poll ... found that Revenge of the Sith (and not Empire Strikes Back) scored as the best-regarded of the [Lucas] movies according to aggregation of archived reviews. So the idea that everyone dismisses the prequels seems like a misconception; but it is fair to say that a substantial body of people —including a lot of people who, rather incongruously, regard themselves as Star Wars fans—do completely dismiss this film along with its two predecessors.

As I said at the start, people who didn’t get it or still don’t get it probably never will get it.

But what has always struck me as pitiful about the whiny ‘Lucas Ruined Star Wars’ attitude is that it seems to flow from the premise that Lucas—a man whose stubborn commitment to his own singular vision gave an entire generation from the late 70s and early 80s unparalleled joy—somehow ‘owes it’ to those same people to do things precisely how *they* deem acceptable. That’s essentially what it comes down to—that he, as the artist, should make the art that the fans or the public want and not follow his own creative vision.

What people don’t realise, however, is that if he had done that from the beginning, there never would’ve BEEN an original Star Wars trilogy at all—and arguably all of these huge blockbuster SF/fantasy films that people spend their money seeing today wouldn’t exist either. What a lot of people also don’t realise is that Lucas was never setting himself up to be a populist or even mainstream filmmaker. On the contrary, he was the avant-garde film geek, the rogue, the outsider. The fact that Star Wars spiraled into a billion-dollar behemoth was an accident; and when the first Star Wars movie was released in 1977, it was an oddity that no one in the film industry understood or believed in.

But Lucas had stuck to his own creative vision—a vision that was largely incomprehensible to everyone else at the time the film was being made—and his singular vision hit the mark big-time and accomplished something unprecedented.

By the time of the endlessly-maligned The Phantom Menace in 1999 and everything that followed, Lucas was still doing exactly the same thing—following his own vision, trying to create something extraordinary and largely ignoring contemporary trends or opinion. The only difference was that the vast fan-base he had acquired from the original films were older now, far more jaded and over-saturated with blockbuster movies (most of which were influenced by Lucas’s pioneering work in the 70s) and they essentially didn’t *want* something new, creative or challenging—they just wanted the same thing they’d had when they were kids.

In effect, they weren’t interested in Lucas the artist or Lucas the pioneer—they only wanted Lucas the Popcorn Movie dispenser. But Lucas the Popcorn Movie Dispenser had never existed—he was simply an illusion created by the extraordinary commercial success of the Star Wars Trilogy.

What Lucas had in fact envisioned—and created—with the prequel trilogy, especially Revenge of the Sith, was something that transcended the whole summer blockbuster ennui, transcended genre, transcended the very medium of film itself, and could be discussed in the same breath as Shakespeare, Virgil and the Aeneid, Julius Caesar, and a number of equally fascinating and endlessly debatable works of serious and complex gravity.

But there was an audience of millions who were instead looking for something that could be discussed alongside Jurassic Park or Terminator 2. Which is fine—Star Wars of course can also be discussed just as validly in that latter context too; but it also exists in a stratosphere beyond it. And because Lucas’s process and vision was in that higher stratosphere a lot of the time, there was a frequent disconnect that occurred, whereby a lot of people were unable to meet him halfway or relate to the films on those kinds of levels.

But Lucas pushed on with his long-envisioned trilogy; and by the time the final installment of his Star Wars saga arrived in 2005, a sizeable proportion of the old fan-base had either departed or were by now just coming to the party for the thrill of seeing Darth Vader one last time. Some dismissed the film the same way as they’d dismissed its two predecessors, some were full of scathing mockery, while others were ambivalent. Some were suitably entertained, but didn’t take it much further than that.

Another group, a smaller minority—myself included—had just seen something of epic, overwhelming proportions and had the greatest cinematic experience of their lives.

But great art is like that.

Great works of art divides people, provoking endless debate [...] An argument could be made that the greatest artist will go all-out to create something special and substantive, even if it won’t appeal to everyone. Said artist would follow his own creative vision and not compromise it to the committee of consensus or demand.

Lucas, it should be borne in mind, never made ANY of the Star Wars films with film-critics in mind—even the Original Trilogy movies were not critically approved, despite becoming cultural landmarks. And interestingly, the hang-ups of many of those who were scathing about the prequel movies—ROTS included—were virtually identical to the hang-ups of the critics in the early 80s who either just didn’t get those original Star Wars films or were unwilling to praise a rogue filmmaker who was rebelling against Hollywood at the time and who was making something entirely out-of-step with contemporary trends and sensibilities.

Fittingly enough, the Lucas who was out-of-step with the sensibilities of the time during the late 70s and early 80s is the same Lucas who was equally out-of-step with sensibilities and trends at the time of the prequels too. In both eras, Lucas rebelled against the sensibilities of contemporary cinema and carved out his own piece of utter magic according to his own stubborn vision—the difference is that so many of the same people who adored what he had done in the first instance couldn’t understand what he was doing in the second instance.

Even though what he was doing was essentially the same thing.

For that matter, I always suspected that one of the main reasons so many people failed to appreciate (or in a lot of cases, to even understand) this film is precisely because it isn’t contemporary. That’s a key thing to understand about the Star Wars prequels—they were not made in a contemporary style.

Lucas doesn’t make contemporary cinema. Both of Lucas’s Star Wars trilogies are written and designed specifically to NOT be contemporary, but to have a more timeless quality, steeped in traditions from the past.

Lucas, you have to remember, has never been a contemporary or generic filmmaker, but a more avant-garde artist and experimenter who foremost specialises in tone and impressionism. The fact that he invented modern blockbuster cinema is purely an accident. As he himself once said, “None of the films I’ve done was designed for a mass audience, except for ‘Indiana Jones.’ Nobody in their right mind thought ‘American Graffiti’ or ‘Star Wars’ would work”.

 [...] They were not contemporary or generic at all—consequently, a lot of people didn’t understand or relate to what they were watching: because they couldn’t find a point of comparison in popular culture.

To really understand these films, you have to go back to some of the historical epics of the fifties and sixties, particularly films like Ben-Hur, Cleopatra or Spartacus. If you watch any of those films (and all three are timeless, truly marvelous cinematic works) and then watch the three Star Wars prequels, it will suddenly make much more sense. The acting style, the dialogue style, the themes, the epic scope and settings, the vast mythologizing, the way the films are scored, even the intricate costume design—all of it.

There’s nothing surprising about that. After all, it’s easy to overlook the fact now from our current vantage-point, but the original Star Wars trilogy movies weren’t contemporary in style either—they were stylistically based on things like Kurosawa, Flash Gordon and the Saturday matinee serials of the 1930s and 40s. The original trilogy films made no stylistic sense in terms of contemporary cinema or sensibilities in the late 70s or early 80s—they were, in style, a homage to a long-gone era.

So too were the prequels—just a different homage to a different era.

[...]

When you look at everything that makes up Revenge of the Sith, the scope of vision along with the degree of artistic nuance and juxtaposition is breathtaking.

There’s lots of action, yes, as you’d expect; but the action, like so much of what Lucas was doing by this stage, is almost transcendent. Sure, the acting or delivery is off in a few places; mostly due to some of the actors having to perform in non-existent CG environments—remember Lucasfilm and ILM were breaking new ground technologically in these movies, which we take for granted now with all our CG and digital filmmaking, but which at the time were bound to cause some teething problems. But Ewan McGregor is superb in this film, while the maligned Hayden Christensen....in fact does a solid job in any number of key scenes.

And there’s everything else. The special effects aren’t just good, they’re actually often beautiful in a way that most special effects don’t aspire to be. The level of detail and artistry in the visuals mean you could turn the sound off and still be captivated. Some of the backdrops could make extraordinary paintings that could hang convincingly in art galleries. And Lucas is the absolute master of the establishing shot and the scene transition, turning it into an art every bit as nuanced as in a piece of music.

For that matter, the music is extraordinary—and actually if you look at how underwhelming or non-existent the music is in the post-Lucas ‘The Force Awakens’, it becomes clear that Lucas and Williams had a collaborative process that really influenced how these films were scored (and which is now no longer the case). Lucas himself said that the music was 50 percent of what mattered in these films and that is certainly evident.

Much of it, particularly the climatic Kenobi/Skywalker duel and that final act with the birth of the twins, death of Padme and creation of Vader, almost isn’t cinema at all—but opera. This could’ve been something Wagner was composing if he had ever existed in the cinema age.

In fact, the final few scenes of the film don’t even have any dialogue, but are purely musical and visual. Even some of the most stirring parts earlier on in the film are without dialogue; take, for example, the breathtakingly beautiful sequence of Anakin and Padme trying to silently sense for each other across the exquisite, sunset cityscape—it’s all visual, tone and subtle music, pure emotion with no dialogue. A scene like that could almost be part of a silent movie; and it’s also like an impressionist painting in motion.

Even that Kenobi/Skywalker duel itself is more than just an action sequence. With Williams’ epic, stirring, choral score, it too is opera. But it’s opera married to performance art: the level of intricacy, fluency and speed of Ewan McGregor and Hayden Christensen’s dueling is insane, having required an immense amount of prep and practise. The choreography takes it onto the level of dance; of true performance art as opposed to disposable cartoon violence or cheap blockbuster action.

Everything here—to the last detail—is choreographed like a ballet and it is spellbinding.

Yet while other filmmakers would try to sell an entire movie on such an exquisite centerpiece, for Lucas all of this—all of this poetry, opera, dance, music, visual art and everything else—is ultimately mere constituent part to a greater whole: a Shakespearan epic of a tortured fall from grace and a Greek tragedy... wrapped within an even larger epic about the fall of a Republic, the fallibility of religion and the genius of the Devil and failure of the angels.

[...] What Lucas created in fact was the ultimate expression/culmination of the art of the epic itself—fittingly enough, in order to conclude the defining epic of our modern times (what Brian Blessed once described as the Shakespeare of our age). The Shakespeare comparisons aren’t trivial. The evident Star Wars/Shakespeare resonance has even prompted things like Ian Doescher’s book William Shakespeare’s Tragedy of the Sith’s Revenge: Star Wars Part the Third—a retelling of Revenge of the Sith as if it had been written by William Shakespeare for real.

[...] Various observers, including academics, have noted the obvious fact that Lucas’s story is also a retelling of the fall of the Roman Republic and birth of the Roman Empire. Lucas himself admitted this, pointing to how Revenge of the Sith in particular is partly a story about democracies become dictatorships and citing the historical stories of Caesar and Augustus. You can quite easily watch the prequel trilogy alongside I, Claudius or something like HBO’s brilliant Rome series.

But none of those references or allusions are the important part. Even the fact that the prequel trilogy—and again, ROTS in particular—is quite clearly in part a story about false-flag wars, banking conspiracies, the corporate and military-industrial complex, the Bush administration and the Iraq War, etc—isn’t particularly relevant to the issue of why it’s such an epic work of significance.

Lucas is the author and architect of our preeminent modern mythology—as interviewer Bill Moyers asserted during his fascinating and revealing 1999 interview with Lucas (for the release of The Phantom Menace). Partly inspired by his friend Joseph Campbell’s thoughts on mythology, but moreover informed by his own careful distillation of elements from various cultures and civilisations (what he has referred to as our collective human ‘archaeological psychology’), Lucas is every bit as influential as Virgil, Homer or Shakespeare were in their respective times, and has crafted out the ultimate mythological saga.

Revenge of the Sith is the final, completing piece of that saga—the piece that gives the saga its full scope and true soul, and the piece that makes every one of the other films count for so much more.

And it does it so well—with such vivid and breathtaking quality—that, even having written an article as long as this one now is (and another before this), I still don’t feel like I’m adequately able to explain its full brilliance.

Neither could Lucas himself, I suspect. I’m not sure Lucas even realised how masterful it was; but, as Paglia and others note, the guy is so mild-mannered and self-deprecating that it simply wasn’t in his nature to boast about his own work. Instead he just took in all the abuse and mockery with mild bemusement, shrugged his shoulders and walked off into the twin sunset, knowing that with Revenge of the Sith he had finished what he’d come back to do.

In fact, what Lucas did was so extraordinary, so complex and so nuanced that it may take another decade or two for people to even appreciate it properly—assuming they ever do. As film experts like Mike Klimo have noted, some of what Lucas did in ROTS and the prequels may have been so sophisticated that he deliberately didn’t talk about it, but just left it there, not knowing that anyone would ever even notice.

This, as I said earlier, goes beyond cinema, and possibly even beyond Star Wars itself. Lucas genuinely outdid himself, and it is unlikely anyone will reach that height again—firstly because no one is going to be in the position Lucas was in again in terms of total ownership of a property, and secondly because no one is going to have that kind of ambition again, especially having seen how much of a backlash Lucas received from the legions of popcorn munchers, YouTube profiteers and ungrateful fans who were really looking for something much more in keeping with a generic, formulaic, standardized blockbuster formula.”

#the prequels #revenge of the sith #rots #george lucas #prequels appreciation #lucas' star wars as created-myth #Paglia is an expert on the Fall of Civilizations #which explains her fascination with RotS in particular #as for the blogger who wrote the post...i don't necessarily agree with every single thing he says #particularly his view on some of RotS' themes #(he seems to miss the fact that the Prequels are not about love as a negative element but are rather about the Fear of Loss ) #(Anakin's tragic flaw is not Love but rather his FEAR losing his loved ones to Death) #but there's enough here i found worthy of sharing (and you can read the rest on the wayback machine link) #ultimately i feel that the inability of contemporary audiences to appreciate Lucas' work #is very much akin to the bafflement with which Tolkien's work was met in the mid-20th century #Tolkien was writing in deliberately archaic medieval tradition during the very height of the Modern era #and similarly ... #Lucas was making homages to old-fashioned cinema/Greek tragedy/and mythic Romanticism during the peak of cynical Post-Modernism #audiences seem to have truly have LOST the ability to comprehend older forms of storytelling #and that is the real tragedy

[odd-god]

If life has taught me anything it's that most people only care about themselves. Deep down, they're selfish, lacking self awareness, and wilfully ignorant. All in a bid to continually feel like the Main Character of their own lives and to be forever justified in any/every thing they do.

When I say "most people" I mean over 50%. I'm being generous, of course.

#voidpunk #people #humanity #misanthrope #hermit #watching civilization crumble #trans #queer #lgbtq #neurodivergent #abusers #manipulative people #I've gotten to see enough of the US #maybe it's just America but I doubt it #of course we're all human? maybe #but it takes a particular brand of asshole to justify the things some people do #ya'll know the type of people I mean #the people who lie to your face about dumb shit #who make fun of people for things they can't help #but love drama and stupid nonsense #yet are so ignorant of themselves and the world #maybe they can't help it #but i doubt it #maybe ignorance is bliss #yet most people have dealt with trauma #so wtf am I seeing here except the worst of humanity? #i have seen good #but mostly very so-so and bad

[victusinveritas]

#iowa #civil war #breastfeeding #fuck the confederacy #hurrah for the union in this particular instance #robert e lee #more like robert e loser #us civil war

[disguisedcheezed]

Please DO NOT TAG my DirkJohn drawings as DirkJake. I don't hate the ship but you guys are making it the only ship I will Never want to draw or try spoofing. So please, for the love of god, read the tags before tagging.

#dirkjohn #dirkjake #please omg its starting to get annoying #:( #; #im not the first person to ever have this problem #all it takes is not to be a jerk and just tag properly please #i am approaching this matter in a civilized manner without all the unnecessary hate because someone just finds comfort in a particular ship