A self-invented definition for ‘character’ I always liked is ‘a personality, an expressive potential’ that can be harnessed through prose. A character’s effectiveness in narrative is defined by their expression of inner dimension. The layering of character would thus draw one’s attention to how a personality is molded through prose.
The inner life of a character.
And it is precisely this potential of personified liveliness that helps the story develop alongside the organic expansion of the character’s crafted persona. There is after all, a very favourable difference between an authentic character and a vehicle of plot that has lines of dialogue and scripts of action already predetermined within a story, at least according to Noah Lukeman when he wrote about characterisation. Lukeman stressed that the internal sense of self an author crafts for a character should act as the catalyst for the story. Their instinctual, compulsions and internal thought processes are just some ingredients that guides a character’s distinct liveliness.
I’m actually not sure how I should tell this story for you. Is this just a collection of conventional thoughts on films, or am I supposed to frame this more as another one of my Tale Time entries? (Haven’t done one those in a while huh…)
Going to the cinema and watching a film works in conjunction when it comes to me recalling experiences for a blog post. Experiences never exist in voids, they meld and influence each other. Perhaps this is why I find it so difficult to write straight up film or TV series reviews, whether I watched it alone at home, or with a group of people. It wouldn’t be a stretch to say that half the fun of watching a Summer blockbuster copy-and-paste explosion fest is the environment of a filled-out cinema, with some 400 people reacting to the same things you are.
You know…I went into starting this post with snippets of ideas for the intro: something snappy, a humorously depressing comment on 2017, and end it with a cheesy flavour of hope. But instead…I ended up with this.
I think I’ve sampled more albums than I ever did in 2017: more varieties of artists both old favourites and new discoveries, an increasingly diverse set of classical repertoires, genres and origins. That comes with good news and bad news, and I think the good news is kinda obvious already. But the bad news: I’ve listened to less albums COMPLETELY than the past two years, since there’s always something I want to jump onto prematurely.
I want to start by talking about a single shot in Violet Evergarden’s debuting episode.
Violet’s reflection in the clock implies two things: her current state of mind, as well as certain potential, if one takes into account Violet’s first real display of agency in this scene.
A clock as a tool for telling time is mechanical and rigid by nature, its function defined by a single need. Violet was a child soldier who has known nothing but to take orders and acting on them: her function defines her, encroaching her behind a transparent cage.
The fall season kinda fell right on top of uni finals, hence the lack of a first impressions. But now that’s over and done with, I can finally talk a bit more about this season’s incredibly diverse offering: no individual standouts, just a WHOLE slew of solid ideas, explored in…various degrees of clarity.
Like it or not, trailers are an art form. And like any art form, the contested validity of their societal worth is often the only framework of discussion that floats among the mainstream. Contemporary culture’s love for ‘what comes next’, makes for a very horrible environment for any sort of expressive ‘fad’ to gain recognition, especially when such a culture is sandwiched with the famed slots of the ‘timeless few’, which have already been filled with the likes of Star Wars, Sherlock Holmes, Harry Potter and Tolkien.
Ambient storytelling is brought up constantly when one talks about the affect of mythos and world-building in fiction. For a narrative to be immersive, the storied vision requires layering and textured detailing of the seemingly irrelevant, so the illusion of malleable reality can be made more effective.
After taking a year off this format while I readjusted to the fandom and determined how I should follow seasonal shows, the seasonal first impressions is back, and it is now a much more casual setting: no more ratings, staff/genre run downs and a shorter length.
Duality: a simple but demonstratively cardinal term. The expressionistic properties of ‘duality’ alone can already form the metaphorical backbone of the most impressionable citings of physics, philosophy, mythology and visual arts in human history. Balance in its purest form constitutes two opposing beings; physical or otherwise, keeping each other in check. Gravity and mass, good and evil, light and dark. Man and machine.
I never intended to write another post on Tsuki ga Kirei. My analysis of episodes 1-4 felt pretty definitive in regards to unpacking my very positive impressions of the show overall. At the time of publication, at least. For the most part, I felt I have no more to say about it.
Instead, the show decided to up its ante with each passing episode, all the while making me realise, just how much detail I’ve missed from the episodes I thought I’ve covered quite thoroughly. Sigh…*
Akane carries around a tiny mascot doll as a lucky charm. She instinctively rubs it when she gets nervous.
Kotarou is self-conscious about his writing. He gets into a boxing match with the lamp cord when he gets anxious.
It is a delicate task, trying to depict the awkwardness of the adolescence. How does one depict such a confusing part of life, when those who are currently experiencing it are too moody and self-absorbed to bother understanding it, and those who have already experienced it can no longer provide the organic, first hand accounts?
Opening remarks: I originally intended this piece to be a particularly academic-driven one…digging deep into the likes of Mark Lochrie & Paul Coulton’s article on shared viewing experiences or ‘Social TV’ and ‘Second Screen Devices’, and Alice E. Marwick’s paper on ‘Imagined Audiences and Context Collapse in Microblogging’. Elements of these studies are still retained in the final product, but I decided to keep discussion more centred on Dragon Maid and my own experiences in watching it…and ultimately deciding that it is an absolute new favourite.