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actual-changeling · 6 months

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Welcome back to Alex's unhinged meta corner, and today I have something surprisingly not kiss-related—though it is still about the final fifteen because hey, gotta keep the brand image.

I read this post by @goodoldfashionednightingale and began typing a small response. Then I made the mistake of drinking half a litre of coffee on an empty stomach right after taking my adhd meds and my brain began vibrating at the speed of light.

But oh, have I discovered parallels. This, my friends, is about the nightingale, where it comes from, what it means, and what the fuck happened in part 3 of 1941.

Ready? Let's go.

Now, as OP said in her post, s1e3 is important. In the script book, Neil himself says that these flashbacks are where the producers would tell him to cut scenes to save money. They suggested every single one—except for the one he ended up taking out, which was the bookshop opening scene set in 1800. The others are building blocks, you need them to see how their relationship progressed and what kind of important milestones they had.

(side note: author is very miffed that english does not have a separate subjunctive form like german which makes quoting lines way more confusing than it has to be)

The one I want to mention is neither 1941 nor 1967. No, what I want to talk about is 1601. This might be about to get a bit rambly but I will do my best to keep it tidy.

The focus of that flashback is on the Arrangement, yes, but it gives us a lot more information than that.

they both see Shakespeare's plays regularly, maybe even meet in the crowd

Crowley prefers the comedies

Aziraphale does not seem to have a preference, he enjoys the tragedies and presumably the comedies too

there is an oyster woman selling food -> reference to their meeting in Rome when Aziraphale tempted him to try some oysters

Aziraphale reflexively denies their relationship

Crowley might say he is not worried but circles Aziraphale the entire time, keeping watch

they both ask favours of each other and both agree to do them

What stands out to me in relation to what I am about to expand on is the line that Crowley delivers after Aziraphale's little 'buck up'—which Crowley finds adorable btw but that's a post for another time.

"Age does not wither nor custom stale his infinite variety."

Why would he say that? What exactly is prompting this? WHY say that specific line?

At first I thought it might be to tempt Shakespeare because he does commit art theft by just copying that line down, BUT I think there is more to that. So much more, in fact. I am wiggling now because I am very excited about this and my adhd meds are kicking in anyway.

First things first: the line itself.

It appears in Shakespeare's play Antony and Cleopatra, a romantic tragedy, which was first performed in 1607 aka six years after this meeting. Enobarbus is talking about Cleopatra and describing why Antony won't leave her. Her.

Ccrowley uses his—again, who is he even talking about? Hamlet? Shakespeare? Random poetic quote?

No, I think this line is about Aziraphale and it's a code. Right after, the next line from Aziraphale is "What do you want?", meaning that this is their code phrase for 'I have a favour to ask of you'.

Age does not wither nor custom stale his infinite variety

Age will not affect his appearance nor will he ever become boring to Antony. Crowley, who later chooses the name Anthony for himself, tells Aziraphale, an immortal, that he will never age and that he will never grow bored of him.

It's flattery, pure and simple, and it's code at the same time. This establishes the important fact that they might use more of Shakespeare's work as code/already have a system in place (even though he steals Crowley's line for later).

They play their little morality game of back and forth, Aziraphale agrees, Crowley probably manipulates the coin toss, and THEN we find out that the oyster woman is called Juliet.

Why? What is the meaning of that? Why give her a name and that name in particular? Why bring the sexy oysters back into it?

Romeo and Juliet premiered in 1597, so it is safe to assume they have both seen it by 1601, but this is mostly for the audience, not for us-or is it?

Aziraphale gives Crowley puppy eyes until he agrees to make Hamlet popular, and while I don't think Juliet itself is a code word, although it's very interesting that the OYSTER woman is the one with that name (especially adding what we now know about Job), Romeo and Juliet might be.

Yes, the Nightingale song came out in 1940 but the bird has been around for much, much longer, and, as many probably know by now, also shows up in Romeo and Juliet.

This is where I am starting to vibrate at the speed of light because listen to me. Listen.

Crowley is Juliet. Anthony J. Crowley. Antony Juliet Crowley.

(side note: I'm not saying that Crowley chose it based on that—though I am not not saying that—but that it is a clue for us at the audience.)

Why do I think that? In the play, Romeo spends the night with Juliet and then goes to leave as the night begins to end. Juliet tries to stop him and tells him that the birds they are hearing aren't larks, which sing at dawn, but nightingales, which sing at night.

Who is the one always pushing for more? Crowley. He is the one trying to convince Aziraphale it's safe, they're safe to spend time together.

Romeo disagrees with Juliet and says 'I must be gone and live, or stay and die'.

Leave and stay alive, or stay and hell/heaven will punish us. It gets even better though.

We all know how Romeo and Juliet ends: Romeo thinks Juliet is dead, kills himself, Juliet finds him and then kills herself too.

Hey, do you know how Antony and Cleopatra ends?

Antony thinks Cleopatra is dead, kills himself and dies in her arms, then Cleopatra also kills herself—by snake poison; Romeo also died by poison.

The parallels are THERE. They are jumping down our throats! Two tragedies, two sides, several familiar names and phrases, same fear, same ending.

I think by now you can guess how this ties back to 1941.

We do not see how that night ends, but we know it ends. One of them wants to stretch it out, maybe even quotes Romeo and Juliet because look at the setting!

Candlelight, wonderful night they spend together, the threat of Crowley's early demise, and, to quote the play once more, this time Romeo: I have more care to stay than will to go.

Crowley thought it was his last night on earth and went with Aziraphale to his bookshop, to be with him, because he cares more about that than the fact that he will be dragged to hell come morning. Do you remember?

"Expect a legion to come for you first thing tomorrow" THAT is the threat. They have until dawn, just like Romeo and Juliet, which is why she is so desperate for the birds to be nightingales. Fortunately for them, Aziraphale saves the day, BUT there is NO SECURITY. They do not KNOW if a legion will still show up or not. If dawn is a deadline and they will need to fight.

Sure, they improved their chances, but who knows? Maybe they will come for him anyway, it's not like hell is all fair and square.

The best part: it gets even better.

Juliet eventually panics and tells him to go, and Romeo drops a line that huh, sounds oddly familiar, doesn't it?

'More light and light, more dark and dark our woes!'

Remind me, what does Aziraphale say again? Ah, yes. Perhaps there is something to be said for shades of grey.

There is more. Yes, even more. We know the whole rescue relies on a magic trick, a switch. Guess what Juliet yearns for while telling Romeo to go save himself?

Oh, now I would they had changed voices too. While they did not for Romeo and Juliet—they kiss and part—they did for our two. One fabulous switch and we're good.

(side note: Toads? Associated with hell. Larks? Associated with the dawn, yes, but also heaven since Romeo says 'Nor that is not the lark, whose notes do beat the vaulty heaven so high above our heads.')

So, this was a whole lot of information, let's see if I can summarize my thoughts.

I believe the nightingale is a code word that has existed even before 1941 and gained a lot of importance over the years. In 1941, the song is added to the meaning and whatever happened between the two that we have not seen yet, it fundamentally changed their relationship. Maybe they kissed, maybe one of them tried to convince the other to prolong the night but they parted on not-great terms.

The nightingale and the song become a symbol of hope, a goal to achieve, another uninterrupted night, maybe, or an uninterrupted life.

When they part in the final fifteen, it's morning. Crowley points at the sky and says "no nightingales", which at that point has several different layers to it.

No nightingales because their night is over, just like with Romeo and Juliet, and please, please allow me to add another detail, because I am frothing at the mouth over this. The scene I quoted, known as balcony scene, do you know what it is preceded by?

A ball.

Star-crossed lovers defying their sides, falling in love at a ball, getting a hurried, wonderful night together but torn apart by danger of punishment, the nightingale as a dream, as a wish for unhurried time together. Family rejection, torn apart by parents, willing to die for each other so they can reunite in death.

No nightingales. The ball, the romance, is over, their dancing is over, heaven is tearing them apart, and Aziraphale returns to heaven while they are both stuck in a pit of misunderstanding and miscommunication, all bound together by fear for each other.

The thing is, Crowley hates tragedies, he never liked the "gloomy ones", and he does not want them to end in one—luckily, this isn't the end. Yes, they kiss and part, but the play keeps going. We have an entire act 3 to fix what Romeo and Juliet couldn't, to ensure that this is a COMEDY, not a tragedy.

Both Antony & Cleopatra and Romeo & Juliet died out of fear, hurried into making bad decisions because they knew what would happen if their sides were to catch up with them.

Crowley and Aziraphale can reunite heaven and hell with love, not death. This is THEIR story and they are writing the ending. No more day and night, no more deadlines, no more hiding and sneaking about, no more fear of larks and sunshine.

Good Omens will end the way it began: In a garden with two no-longer-star-crossed lovers embracing the song of a lark as well as that of the nightingale.

I hope this made sense to everyone who was no present while my mind started to vibrate itself into a puddle because the thing is I can see Neil doing all of this completely on purpose.

Thoughts? Questions? Additions? Come and join me in my insanity and until next time I have a mental breakdown over this show (probably in like two hours).

#alex talks good omens #good omens #good omens meta #ineffable husbands #crowley #aziraphale #good omens season 2 #go2 #aziracrow #crowley x aziraphale #no nightingales #ineffable divorce #the final fifteen #a nightingale sang in berkeley square

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headspace-hotel · 4 months

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Just spent a couple hours digging into this book. I'm not even sure what has worse environmental impacts, the paper the book is made of or the opinions printed within.

Is "post-colonial" literary theory a joke? It's distressing that a book printed in 2021 by a reputable academic press can be so painfully Eurocentric, and I mean PAINFULLY. The philosophical and literary frameworks drawn upon in most chapters are like what some British guy in 1802 would come up with. In most of the chapters, every framework, terminology, and example is inseparably fused to Latin, Greek, and/or Christian philosophers, myths and texts, even down to the specific turns of phrase. You would think only Europeans had history or ideas until the 20th century.

Don't get me wrong, non-european and even specifically anti-colonial sources are used, and I don't think all the writers are white people, but...that's what's so weird and off-putting about it, most of the book as a whole utterly fails to absorb anything from non-European and in particular anti-colonial points of view. The chapters will quote those points of view but not incorporate them or really give their ideas the time of day, just go right back to acting like Plato and Aristotle and Romantic poets are the gold standard for defining what it means to be human.

In brief, the book is trying to examine how literature can shed light on the climate crisis, which is funny because it completely fails to demonstrate that literature is good or helpful for the climate crisis. Like that is for sure one major issue with it, it shows that people *have* written stuff about climate change, but it sure doesn't convince you that this stuff is good.

Most of the works quoted are rather doomerist, and a lot of the narrative works specifically are apocalypse tales where most of Earth's population dies. The most coherent function the authors can propose that literature fulfills is to essentially help people understand how bad things are. One of the essays even argues that poetry and other creative work that simply appreciates nature is basically outdated, because:

“One could no longer imagine wandering lonely as a cloud, because clouds now jostle in our imaginations with an awareness of atmospheric concentrations of carbon dioxide and other atmospheric pollutants” (Mandy Bloomfield, pg. 72)

Skill issue, Mandy.

The menace of doomerism in fiction and poetry is addressed, by Byron Caminero-Santangelo, on page 127 when he references,

the literary non-fiction of a growing number of authors who explicitly assert, some might even say embrace, the equation between fatalistic apocalyptic narrative and enlightenment…they are authoritative in their rejection of any hope and in their representation of mitigatory action as the cliched moving of deckchairs on a sinking ship

He quotes an essay “Elegy for a country’s seasons” by Zadie Smith, who says: “The fatalists have the luxury of focusing on an eschatological apocalyptic narrative and on the nostalgia of elegy, as well as of escape from uncertainty and responsibility to act." Which is spot-on and accurate, but these observations aren't recognized as a menace to positive action, nor is the parallel to Christian thought that eagerly looks forward to Earth's destruction as a cathartic release from its pain made fully explicit and analyzed. Most of the creative works referenced and quoted in the book ARE this exact type of fatalistic, elegiac performance of mourning.

I basically quit reading after Chapter 11, "Animals," by Eileen Crist, which begins:

The humanization of the world began unfolding when agricultural humans separated themselves from wild nature, and started to tame landscapes, subjugate and domesticate animals and plants, treat wild animals as enemies of flocks and fields, engineer freshwater ecologies, and open their psyches to the meme of the ‘the human’ as world conquerer, ruler and owner.

This is what I'm talking about when I say it's dripping Eurocentrism; these ideas are NOT universal, and it's adding nothing to the world to write them because they fall perfectly in line with what the European colonizing culture already believes, complete with the lingering ghost of a reference to the Fall of Man and banishment from the Garden of Eden. It keeps going:

“Over time, the new human elaborated a view of the animal that ruptured from the totemic, shamanic and relational past.”

Okay so now she's introducing the idea of progression from shamanic nature-worshipping religions of our primitive past...hmm I'm sure this isn't going anywhere bad

“While humanity has largely rejected the colonizing project with respect to fellow humans, the occupation of non-human nature constitutes civilization’s last bastion of ‘normal’ colonialism. A new humanity is bound sooner or later to recognize and overthrow a colonialism of ‘nature,’ embracing a universal norm of interspecies justice.” (pg. 206)

OKAY????

Not only denying that colonialism still exists, but also saying that humans' relationship with nature constitutes colonialism??

Embracing limitations means scaling down the human presence on demographic and economic fronts…(pg.207)

ope, there's the "we have to reduce the human population"

Embracing limitations further mandates pulling back from vast expanses of the natural world, thus letting the lavishness of wild (free) nature rule Earth again” (pg. 207)

aaaaaaand there's the "we have to remove humans from wild nature so it can be freeeeeee"

don't get me wrong like I am a random white person with no particular expertise in anti-colonialist thought but I think this is an easy one. I'm pretty sure if your view of nature is that colonialism involving subjugating humans doesn't exist any more and actually humans existing in and altering nature is the real colonialism so we should remove humans from vast tracts of earth, your opinion is just bad.

Anyways y'all know I have an axe to grind against doomerism so it was probably obvious where this was going but good grief.

#climate #climate doomerism

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leafyisgreennotblue · 3 months

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With Legends Z-A, I gave him the unavoidable design. I had written so much background and trying to get it on Insta was a hassle, but luckily I’ll be able to fully put it here with no issues,,:

It was hard to steer from the typical older Emmet look but I tried my hardest to make it seem like it would’ve been. I tried looking up France fashion from 1600-1900 but it was either some ridiculous outfits or suits, and since it mentioned the redevelopment of Lumiose City, it was either working up from something like Jubilife village or was upgrading from what it already is. I’ve heard a lot of theories that Legends Z-A will be taking place in the future or bounce back from future to past, but since it’s hard to incorporate futuristic outfits without knowing “how futuristic” it’ll be, I stuck to something from a layer time period in France. I drew him more of a square shape in his eyes instead of triangular, both to signify age and his lost connection with Ingo. Maybe not a permanent design but I think it adds a lot to his demeanor. He kept Basic stuff like he still has his coat, hat, etc. because Ingo got to keep all his old stuff too, but since the trailer looked more modern and Pokémon were with people, I don’t think it would be all destroyed like Ingos just cause it seems like a more civilized nation alongside pokemon and if it really did get destroyed in some way, I have a feeling he would be able to get it repaired without it getting ruined again. Also in terms of the suit I think the darker color is a good parallel to Ingos pearl clan outfits lighter colors. A lot of the design choices were meant to parallel him anyways. Since Ingo had lost his gloves in his Hisui design, giving Emmet new ones felt appropriate for some reason. In terms of the cane I gave him, not only is he an old man, I think it’s kinda needed. Ingo had that little wristband to signify he was a warden, while I think the cane could be useful for a mega stone wink wink nudge nudge. Cute little accessories for them I’m so nice 💀 he could definitely have a slower lifestyle in comparison to Ingo, and I definitely could see him working at Lumiose Station (if it exists in this game) and even though he would most likely have his memory wiped too, Ingo still said the same train themed quotes even with his memory gone, and even then he still had SOME memory, it was just very faint. Emmet definitely could feel some “connection” to the station and say stuff like “Some late nights I think I see a man who looks like me, but upon second glance it’s just my imagination. Even if I can’t seem to shake it from my mind, it seems I still wish to see him again…” anywho for the drawing, I made a few references. The main one just being a reference of design, but the one in the top right corner was a small reference to Alabaster Icelands. I’ve seen a lot of people use the snow to give Ingo flashbacks to Emmet, and while I think my station one is more closely related to Ingos darker color scheme, I think having him in the snow was a good nod to that. The bottom right corner was a reference to a drawing (that probably most people already know what I’m referencing) that had Pokémon that I thought resembled them, and one of the ones I had included for Ingo was Klefki. So just a little salt to the wound (it wasn’t even that bad.) Anywho, I know the design isn’t very refreshing, but I tried to keep it as canonical as possible.

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jennifer-jeong · 3 months

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[Fluff + Slight Angst] [Zayne x Reader] A Cure.

SUMMARY Zayne has trouble sleeping after overtime and you’re the only thing that helps ):

CONTENT Gender neutral reader, established relationship, kisses, hugs, slight angst, mention of previous patient deaths, mentions of guilt, mentions of nightmares + insomnia, mostly fluff, taking care of sleep deprived boyfriend, CHARACTERS ARE 18+

AUTHOR NOTES

I finished reading his anecdotes and I’m in shambles. Hubby is traumatized. One of his affinity level up quotes is “you are the only treatment for my nightmares” and I didn’t even know he had nightmares until I read the anecdotes and now I’m just in pain. I will probably also write about the parallel version of him, his dawnbreaker self, because he deserves some love too, his world sounds much more desolate than ours ):

Word Count: 1106

Zayne has always had trouble sleeping or even wanting to entertain the idea of going to sleep. His nightmares have plagued him for so many years now and it’s become his norm. His only relief from it has been you.

Some of the staff that work closely with Zayne have been acquainted with you and they’ve come to understand that if they want the cardiac surgeon to sleep, you’re the key. You love his co-workers because they really do care about each other and you’re so grateful they make sure Zayne rests well. You always make sure to bring them some snacks or coffee when you come to the hospital.

A recent wanderer attack at the outskirts of the city has left the emergency unit overflowing for the past 2 days. You’ve been helping where you can to defeat wanderers and the combat side of things has calmed down. But the hospital is still working overtime. AKA Zayne is working overtime.

He’s been up for 2 days straight due to back to back emergency surgeries that he insists he helps on. The staff will allow him to push himself but they know when to cut him off. They asked if you’d be available today to pop by and you mentioned that you’re already on your way after finishing your last area sweep and clearing the place for wanderers.

When you walk in, you set some coffees onto the clerk’s desk and quickly walk over to Zayne’s office. You slowly knock quietly and open the door cautiously so as not to spook the sleep deprived man. Zayne never shows when he’s nervous, he doesn’t get jittery because he’s literally a surgeon and can’t afford to. But, you can tell when he’s exhausted and anxious, and he is exactly that right now. You walk over to him and he hugs you from where he’s sitting at his desk, swiveling his chair to face you as you stand between his legs. You stroke your hands through his hair and rub his back, letting him enjoy the peace. “All successful?” You ask. He nods with his face buried in your chest. You’re glad that this means his surgeries and patients were all okay, but you know it doesn’t ease the pain and stress of going into a surgery worried that it might not end well. Also, not to mention the immense stress simply performing a surgery brings. The notches on his notebook always come to mind at times like this. It took a while for you to talk to him about it but when he told you they were a tally of how many patients have passed in his care, your heart ached. Since then, he hasn’t kept track and you’re very glad that he confided in you and made the decision to stop. He doesn’t deserve to have that guilt hang over his head when it’s never been his fault.

You continue to soothe him and ask “couldn’t sleep again?” He responds slowly and clearly exhausted “I haven’t felt tired…” he pauses “but you being here is already making me drift into sleep” he says muffled into your chest. “Thank you, I’m happy to see you, I just… I have another surgery soon.” “The staff has already shifted the time slots, you know they don’t let you push that far. It’s been 2 days, love,” you explain to him. Surgeons have already been called in due to the emergency and Zayne has a 12 hour period until his next shift. The staff know he’d get upset if they forced him to not work for more than a day, especially during an emergency. He’s quiet for a minute or two. “I know you trust your team. Take this time to breathe baby,” you say to him gently. When he’s in this state, he can’t form thoughts coherent enough to help calm himself down with logic. So you do it for him, softly, with lots of kisses. You kneel down to meet his eyes and cradle his face in your warm hands. He nuzzles very slightly into your touch and you kiss him on his forehead. He honestly almost falls asleep right then and there. You move him to the couch in his office, he has a wider couch to accommodate naps. He prefers his office to the call rooms (in hospital rooms for staff to sleep in), it just feels cozier and you’re also usually here.

You let him get comfy as you bring over pillows and a blanket for him, all prepared nearby because he quite commonly has to do this. With his eyes closed he mutters a slurred “love you s’much.” He has more words for you but can barely even conceptualize them in his head, let alone speak them out loud. But he knows that you understand the sentiment. He’ll make it up to you when he wakes up.

Somehow you’ve been able to stop his nightmares since you two got close again. He isn’t scared to sleep as long as you’re around. You’re his only safe haven from the dreams and just thinking about that makes him so emotional. He just thinks it makes so much sense that you cure him in this way and he loves you so much, you take such good care of him and he does the same back.

He quickly drifts off into sleep as you sit in front of the couch on the carpet while holding his hand and patting his back slowly. You purposely pat slowly to encourage his heart rate to slow and calm down. You will sometimes leave to do your own thing after he falls asleep but most of the time you stay close, wanting to keep protecting him in his sleep in a way. It probably doesn’t really make a difference but you don’t mind doing your work or playing on your phone nearby. It’s kinda like you think he subconsciously feels you there and so you stay. You don’t pay it much mind but he hasn’t told you that he feels so much better when he wakes up and sees you there. It makes a wave of warmth flow over his cold self and he can’t explain how much he loves it and you.

You watch him a little longer as his breathing slows and you know he’s fast asleep. You go to sit on his chair and check some messages on your phone but you make sure to give him another kiss on his temple before going. You don’t really see it but his lips curve ever so slightly, completely subconsciously enjoying it.

Thank you for reading!

|| MASTERLIST <3 ||

#zayne x reader #reader x zayne #li shen x reader #reader x love and deepspace #love and deepspace x reader #love and deepspace zayne #zayne love and deepspace #zayne #li shen #zayne fluff #love and deepspace fluff #love and deepspace #self insert #j's silly ramblings

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alpaca-clouds · 9 months

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The Punk-Factor of Punkpunk Genre

So, when I posted my history of Solarpunk, someone (probably not in good faith) asked: “So, what about the punk in all the other punk genres?!” towards my request to put the punk back into Solarpunk. And given that my autistic brain obviously cannot just let that stand… You know what? Let me talk about the other punk genre and in how far they are “punk”. I tried to be as exhaustive as possible, though there is a good chance, that I might have missed some of the punkpunk genre. So feel free to add.

Trying to judge the punkiness I do not assume punk as simple counter culture, but a specific ideology. Quote from Wikipedia:

[Punk ideology] is primarily concerned with concepts such as mutual aid, against selling out, hierarchy, white supremacy, authoritarianism, anti-consumerism, anti-corporatism, anti-war, imperialism, conservatism, anti-globalization, gentrification, anti-racism, anti-sexism, class and classism, gender equality, racial equality, eugenics, animal rights, free-thought and non-conformity

Most of the artwork here has been taken from concept art of either of the examples listed.

Sorted from most futuristic to pre(historic). Yes, the list is long.

Cyberpunk

We start with the OG punk genre, the one after which all other punk genre were named. Yes, you could argue that in fact the two genre following are more futuristic – but Cyberpunk kinda just had to start the list.

As a genre: Given that Cyberpunk had its start completely in literature it is the best defined in this regard. Taking place in a late stage capitalist dystopian world in which most is owned by megacorps who don’t follow anyone’s laws but their own, the protagonists usually are social outcasts fighting against their own oppression, trying to keep themselves alive in a world hostile to them. With cybernetics always being a core of the genre, it also tends to deal with the question of humanity in a “ship of Theseus” sort of way. How much can the human body be altered, before the human vanishes?

As an aesthetic: Cyberpunk is the most punk in terms of aesthetics, really. There is a lot of punk and grunge going on in terms of character design. Neon hair colors, fishnets and thorn up jeans jackets can be found here. As well as of course cybernetics on the characters. The world usually is a megacity with a stark divide between rich and poor, tons of neon signs, a slight Japanese influence, flying cars and somehow a constant downpour of rain.

Punk-Factor: Cyberpunk is the one punk genre, where the “punk” was chosen very knowingly as a name. Usually the protagonists are “punks” fighting for their place in the world against a suppressive capitalist system. (Also, they usually fit the punk aesthetic, if they don’t wear leather dusters.) It should be noted however, that especially in newer western Cyberpunk often the punkiness vanishes more and more – for the same reason we have so little Solarpunk: media that outright confronts the problems of capitalism is just less supported.

Examples: Neuromancer (1984), Mirrorshades: The Cyberpunk Anthology (1986), Snow Crash (1992), The Matrix (1999), Dredd (2012)

Biopunk

As a genre: As a genre biopunk is still fairly ill defined, as it mostly shows up as a subsection of Cyberpunk. Rather than the characters having cybernetic implants (or additionally to it) they are augmented on a genetic level. This can be all sorts of augmentations, changing anything from appearance to giving characters higher strength and agility, giving them claws or night vision, or in some cases even “magic” powers. Usually the genre tends to be set in worlds similar to Cyberpunk. In fact it might well be set in a cyberpunk world, only that characters with bioaugmentations exist parallel to those with cybernetics. Additionally, though, there is a subsection of this genre, that concerns reproductive rights.

As an aesthetic: Ironically biopunk is even less defined as an aesthetic. There is not a lot of biopunk art out there and most that exists can go in different directions. As such it often mixes elements from other punk aesthetics – like Cyberpunk, Steampunk or Dieselpunk – with an assortment of bodyhorror elements.

Punk-Factor: It is hard to define the “punkiness” of a genre, that barely exists for the most part. Usually, when it is set against a Cyberpunk backdrop, it might be very punky, but in other settings those punk elements vanish.

Examples: Ribofunk (1995), Altered Carbon (2002), Bioshock (2007), The Windup Girl (2009)

Nanopunk

As a genre: Like Biopunk Nanopunk mostly exists as a subsubgenre to Cyberpunk, often being set in a mostly Cyberpunk world, only that instead of or additionally to Cybernetics, the technology used to alter the human body is nanites. These serve the same function as the genetic manipulation in Biopunk, giving the human in question more strength and agility and at times more or less magical abilities. There is one common plot that comes up again and again, with an AI or megacorp turning the nanites against the people they inhabit or trying to control them.

As an aesthetic: Aesthetically Nanopunk does not have much in terms of its own identity. Most artworks relating to Nanopunk feature a similar aesthetic to Cyberpunk, with megacities and lots of neon.

Punk-Factor: This genre is so small, that it is kinda hard to judge the exact punkiness.

Examples: The Diamond Age (1995), Prey (2002)

Solarpunk

As a genre: Being another genre, that started as such, Solarpunk is a bit better defined. Solarpunk usually takes place in a world post-strive. It is post-capitalist and decolonial in its settings, usually featuring a world that has either formed against the backdrop of preventing climate collapse or in the aftermath of it. A lot of it features people rebuilding – or alternatively building communities. It always features elements about living in harmony with nature or trying to do so. So far, the genre is mostly defined by short stories, partly because there is still disagreements within the movement, how far a conflict can be taken to still qualify as Solarpunk.

As an aesthetic: Solarpunk has a very strong aesthetic definition, mostly featuring all sorts of cities and urban areas, that incorporate natural elements into the urbanity, with greenery growing on roofs and concrete car-centric streets being replaced with more natural, walkable areas. The character design aesthetic is not quite as clearly defined, but usually features natural materials and patterns usually seen within indigenous art.

Punk-Factor: Contrary to what many say, Solarpunk is fairly punk, as it very much embraces the entire anti-hierarchical, anti-capitalist mentality. With the big difference, that the punk mentality is no longer counter culture, but the mainstream culture.

Examples: The Dispossessed (1974), Nausicaä (1984), Laputa – Castle in the Sky (1986), Princess Mononoke (1997), The Summer Prince (2013)

Lunarpunk

As a genre: Lunarpunk is pretty much a subsubgenre of Solarpunk, just as Nanopunk and Biopunk are sprung off from Cyberpunk. It is so far ill-defined as a genre, but the general consensus is, that it is set in solarpunk-esque worlds, but with a heavier focus on mysticism or spiritualism, at times outright including magic. It also tends to feature a lot darker places, being set in underwater or underground settings – or alternatively at night.

As an aesthetic: Lunarpunk is far more of an aesthetic than a genre so far. It features dark places, often with bioluminescent elements in it. Often featuring a mixture of black and dark blue with lighter blue, violet or light green elements shining in the middle of it. Mushrooms – especially glowing mushrooms – feature repeatedly in artwork.

Punk-Factor: Given that Lunarpunk is barely defined as a genre it is hard to estimate the punkiness in it. If it gets more stories, will those still feature the anti-capitalist and anti-hierarchical messaging we see in Solarpunk? This should be the defining factor. Some of the artworks use little aesthetics from the punk scene, but nothing much more.

Examples: Bioluminescent: A Lunarpunk Anthology (2023)

Hopepunk

Honestly, I had no idea where to put this one, given that it might technically be set at any time and place.

As a genre: Hopepunk is very much a genre, not an aesthetic. It has been defined as the opposite of grimdark by its “inventor/name-giver” Alexandra Rowland. The basic idea is to create fiction that instead of taking a dystopian, defeatist and violent approach, takes one defined by hope and to some degree pacifism. As such the genre can be set in any setting, real or fantastic. It mostly is defined by the protagonists taking opposition to cruelty and violence, fighting for a better world and, crucially, also partly archiving it. Other than in usual Cyberpunk, where the best possible ending, tends to be, that the protagonists get to live a somewhat better life themselves, Hopepunk aims to better the life at least for groups of people.

As an aesthetic: Being fully a genre, Hopepunk has no aesthetic associated with it.

Punk-Factor: Hopepunk is punk less in the sense of the protagonists or things happening within the story, which might or might not be punk, but was named such rather because it is considered counter cultural towards the gross of media at the moment, that often strives for a “realistic, gritty, grimdark” outlook on the world. Basically it is saying: “Hope is punk.” I will not make any judgement on whether or not this is true.

Examples: The Long Way to a Small, Angry Planet (2014), Mad Max: Fury Road (2015), The Good Place (2016)

Mythpunk

As a genre: Another one, that does not really fit into a temporal sorting system, because once again it can be set anywhere between the stone age and the far future. The basic idea is, that the story interweaves postmodern storytelling with elements from mythology or folklore. This can mean mythological, genre-traversing retellings, but it can also mean, that mythology seeps into any given story bit by bit. As such the genre with probably the most media in the subgenre is Urban Fantasy, which often borrows from mythology and incorporates these elements.

As an aesthetic: Mythpunk as an aesthetic is a bit strange. There is definitely a mythpunk aesthetic that exists, often mixing familiar elements with elements from mythology and folklore (at times also including quasi-folkloric works of literature, such as Alice in Wonderland and the Wizard of Oz). Often just a bit dark and twisted.

Punk-Factor: To be perfectly frank, for the most part, there is not a lot of punk to be found in this genre. While there have been definitely punky stories told within the genre, this is more a story decision than something inherent to the genre.

Examples: Pan’s Labyrinth (2006), Over the Garden Wall (2014), Inscryption (2016)

Dustpunk / Rustpunk / Desertpunk

As a genre: Kinda grouping those above all together, because people argue about what they might entail and in some interpretations they kinda are similar: Post-apocalyptic stories set in a world of sand and rust. Often featuring a loner character, having to go up against everyone to ensure his own survival – and at times being forced to learn, that the lonerness might not win him (and most often it is a him) anything.

As an aesthetic: Aesthetically this tends to be very much post-apocalyptic, maybe in some cases with some more classical punk elements added to characters and surroundings.

Punk-Factor: Given that there is neither a system to rage against – nor a new, less hierarchical system – usually there is not that much punk outside of some aesthetic choices. Neither tend those stories go into constructing worlds of mutual aid or working against oppression.

Examples: Anything Mad Max should count for this.

Atompunk

As a genre: Atompunk usually deals with themes connected to the cold war – in some cases directly, in some indirectly. Often it overplays the American ideals that were pushed for during the cold war era and portrays scenarios in which American Exceptionalism slowly reveals itself as the dystopia most punks already know it to be. Outside of this vague idea for the setting, the genre is less described, as there is less of a clear script an Atompunk story might follow. So, little description of who might be the protagonist and what their role is.

As an aesthetic: The aesthetic of Atompunk borrows heavily from the Raygun Gothic aesthetic. So, futurism, as it was imagined in the 1950s and 1960s, with heavy influences from late pulp age science fiction art.

Punk-Factor: The aesthetic in this is definitely not punk. The stories often have some vague punk ideas of recognizing how fucked up the world has become, but given the genre is fairly wide in terms of stories, it is hard to give a definite answer to how “punk” it is. One can definitely tell punk stories within this genre, though.

Examples: Hitchhiker's Guide To The Galaxy (1978), Fallout (1997), Futurama (1999)

Dieselpunk

As a genre: Dieselpunk is once again an example of “strong aesthetic, but no clear genre identity”. Generally, Dieselpunk is concerned with the interwar period, but might cover either of the world wars. In some cases the genre features alternate timelines, in which one war happened and not the other, or in which another faction won, with the technological development being influenced by this as well. But as a genre it is not much defined. A lot of stories building on Lovecraft’s legacy feature Dieselpunk in some regards. And there is definitely a subsection of Dieselpunk stories centered around “what if Nazis won” or “what if Nazis somehow went underground and did their own technological development after the war”. Also, there are a lot of stories about pilots of war planes in this genre.

As an aesthetic: As an aesthetic Dieselpunk is more clearly defined. A lot of bare metal and the sorts of technology you would expect from this era, often with retro-futurist and art noveau elements in between. A lot of the fashion within the genre is defined by pilot and military clothing of the times, but at times also dipping into “roaring 20s” fashion styles.

Punk-Factor: In this genre I would generally say: “If the story involves punching Nazis, you might get a couple punk points – but otherwise this is not really punk.”

Examples: The Iron Dream (1972), Brazil (1985), Dark City (1998), Iron Sky (2012), Bitter Seeds (2010)

Teslapunk

As a genre: Yet another one of these, that exists mostly as a vague idea, with no clear definition. The basic idea is a world, that works on Tesla’s inventions. And as those of you, who watched Doctor Who, might know, Tesla sorta, kinda already invented the internet or had an idea of what it could be and how it could work. So a Teslapunk world is based in an alternate timeline, but might in fact go into light futurism. There is not much in this genre though with a unique thematic identity, as stories that use Teslapunk as a backdrop rarely have coherent themes.

As an aesthetic: The aesthetic of Teslapunk is basically “Steampunk, but with Tesla-coils and electricity”. Which is not a big surprise given that Tesla came from the same era that would also be the inspiration for Steampunk. So, we have a lot of Victorian fashion, maybe some light augmentation, airships, and – again – all the tesla coils you can muster.

Punk-Factor: As, again, I think punk is more about themes than aesthetic, this is once more not really possible to judge, because there do not seem coherent themes within the genre so far.

Examples: The Prestige (2006), Sherlock Holmes: A Game of Shadows (2011), Bioshock Infinite (2013)

Arcanepunk

Another one of those that do not neatly fit into the timeline…

As a genre: Arcanepunk takes place in a world, where both magic and technology have developed. In some cases both developed side by side, in others, we might have a technological world, that suddenly discovers magic by some happenstance. The fact is, though, that both exist parallel to each other or might at times be intertwined, with technology being powered by magic. This can exist at different technological stages, usually featuring settings inspired by the late 19th or early 20th century. But usually futuristic stuff that includes magic might be considered Arcanepunk, just as might stories that mix 18th century technology with magic. While also a vague genre, there is a repeating theme of magic being hoarded by those in powers and the poor and downtrodden finding ways to still use it in their own advantage.

As an aesthetic: Given that Arcanepunk’s setting is defined by the co-existence of magic and technology, rather than a specific technology, Arcanepunk has less of a defined aesthetic. Never the less, we have a part of punk aesthetics that often come up, as a surprising amount of Arcanepunk features characters with neon colored hair.

Punk-Factor: Another genre that is rather thin, yet, there is a surprising amount of stories featuring some punk ideas of fighting against an oppressive system and being counter culture to a main culture build around suppression.

Examples: Too Many Magicians (1966), Shadowrun (1989), Bartimaeus (2003), Arcane (2021) duh

Steampunk

Steampunk was the second genre to pick up the “punk” suffix and hence is as much responsible for the punk-punk as Cyberpunk as the originator.

As a genre: Being named as early as it has been, Steampunk kinda suffers the same issue as Cyberpunk itself. There is a lot of ideas there, but some are only vaguely defined. In general, though Steampunk always takes place in a world where the steam engine became the defining technology and was never replaced with the combustion engine. As such cultural aspects from the steam era, especially Victorian England and the Belle Epoche, still carry over for longer, than they did. So often we will see noble households based around similar values as the puritan Victorian English families, while the very poor are made to work in workhouses. At times we might also see themes of colonialism here. In some cases magic might exist in these worlds, as might electricity for some aspects. There is often a heavy inspiration from Jules Verne and H.G. Wells. Though it is still hard to define the “stereotypical steampunk story”, given that Steampunk offers a wide variety of stories, from adventure stories and romances, over to stories where people rise up against the Victorian-esque society.

As an aesthetic: Steampunk as an aesthetic is very much influenced by Victorian aesthetics and the time period of the late 19th century, mostly in the USA, Great Britain and France. But as all other punk genres it knows very well: “If it is worth doing, it is worth overdoing,” so steam-related elements are added to everything. Could

Punk-Factor: In the original idea for Steampunk was a lot of punk. “What if we took Cyberpunks ‘rage against the unjust system’ and made it 19th century” they asked. But given that the genre branched out so much, it is not necessarily there in all the stories. There is a ton of stories where people rage against that steam powered Victorian machine – but also a ton in which the Victorian world gets idealized and romanticized.

Examples: Thief (1998), The League of Extraordinary Gentlemen (1999), Wild Wild West (1999), Clockwork Century (2008) – also half of all Sherlock Holmes adaption made after 2000 in any medium usually use Steampunk elements

Silkpunk

As a genre: Silkpunk is hard to define, despite there being a clear definition. The reason for this is, that the person who coined the term – Ken Liu – had a very specific idea in mind. He explains that the idea is of a world that has technology as language. In which form is as important as function, is made to speak a language all of its own. Inspired by ideas from W. Brian Arthur and Chinese philosophy. However, what the wider Science Fiction and Fantasy community made from it was “Steampunk but East Asian!” But given he coined the term (and also the alternative feels vaguely racist) I am going to go with Ken Liu for this. While Silkpunk will usually be set in an East Asian inspired world, the central idea is about the duality of technology, which will also be addressed within the stories.

As an aesthetic: As said above, the idea Liu had for it was a world that features some technology, but technology that is as much about form and communication through it, as it is about function. So the technology here has strong visual ideas. At least that was, how Liu intended it. Once again, the wider community made “Steampunk, but East Asian” out of it.

Punk-Factor: There is not a lot of stuff in this genre for now – however so far I do not manage to see a lot of punk ideas in it, even though some of Liu’s stories definitely feature the concept of challenging a higher power.

Examples: Dandelion Dynasty (2015), The Black Tides of Heaven (2018), The Tea Master and the Detective (2019)

Clockpunk

As a genre: Once again storytelling in this genre is not really defined, but the worlds diverge a bit before the wide adaption of steam, instead featuring mechanical devices powered by coils and springs and somehow kept alive, often at least implied through some form of arcane magic that gives “live” to these mechanical inventions. Most examples of Clockpunk, however, tend to show up as settings for parts of fantasy stories. Any fantasy world might have this “Clockpunk” area, where protagonists might travel. Especially games tend to feature this. While there is definitely a trope of the “mad inventor” often going along with this, few other tropes stand out.

As an aesthetic: The aesthetic of Clockpunk tends to take some inspiration from the early 19th century, but tends to add a lot of gears to everything, with even city wide gear constructions keeping things working. We often will find mechatronic characters, such as wind up soldiers or wind up dancers.

Punk-Factor: Once more, there are so few stories told, that it is kinda hard to speak about how punk this is. Most stories told so far, however, do not feature punk elements.

Examples: The Great Mouse Detective (1986), Hugo (2011), Clockwork Planet (2017)

Whalepunk

Please note: This is one of those genre, I would love to see more in, though so far it is barely explored.

As a genre: And you might ask: “Why do you even name those genre, that exist mostly in theory?”, to which I might answer: “Because I am a nerd.” As all these retrofuturists genre, Whalepunk imagines mostly an alternate historical timeline, where the technology that became defining was based around whale oil. This means that in Whalepunk often whalers or harbors play a big role, though as the genre is again very thinly spread, it is hard to say what “THE whalepunk” formular is. It seems there is a tendency, to mix some mysticism or magic into the genre, though, as the idea of hunting sea monsters often plays into it as well. Good chance that it could at some point merge with Cthulupunk (which I did not name separately, because most of it is either covered in Whalepunk or Dieselpunk).

As an aesthetic: The aesthetic of Whalepunk is basically “Steampunk, but with more sailors, ships and sea monsters”. There is definitely a bit of Oceanpunk mixed into it as well, with some aesthetics being somewhere between Steampunk and Dieselpunk. (Which is kinda ironic, because whale oil was mostly used in the early 19th century.)

Punk-Factor: And again. There so far is not a lot of connective thematic tissue within that genre, so exploring themes is kinda hard.

Examples: Dishonored (2012), Dredge (2023)

Oceanpunk / Piratepunk

As a genre: It really is hard to divide the Piratepunk out of the Oceanpunk, though some might call it different. The idea here is that this genre features stories mostly set on the ocean and often more heavily leaning into fantasy, than science fiction. While the worlds might feature technological elements, they will almost certainly feature magical elements of some sort. The characters will usually be seafaring one way or another and stories might involve any sort of adventure. There might be a storyline, though, about one company or nation trying to control the seas – often times through magical means – with the characters often unwillingly being made to oppose them. This genre might also take place in a post-apocalyptic setting with a flooded planet.

As an aesthetic: While the aesthetic is not clearly defined, there is a good chance that it borrows heavily from the late 17th and early 18th century and the golden age of piracy, when it comes to both ships and fashion sensibilities.

Punk-Factor: Pirates, at least as far as modern media imagines them, tend to be very punk, as they tend to inherently oppose any sort of government and what not. While the punk is not there in all of the stories, a lot of the most popular stories from the genre will feature at least lightly punky elements.

Examples: One Piece (1997), Pirates of the Caribbean (2003), Assassin's Creed IV: Black Flag (2013)

Dungeonpunk

As a genre: So, the idea of the genre is basically “What if Cyberpunk, but Dungeons & Dragons?” Usually set in a vaguely medieval world, this world still shows the same corporate corruption as your usual Cyberpunk world. Adventurers are just another resource to be exploited by the system, their day job involving going on yet another dungeon crawl. For this there might be some technology entirely powered by magic, with those magic items taking over the same functions technology might have in a Cyberpunk world. And yes, indeed some brave dwarf, elf or halfling might rise up and challenge the corporate dungeon syndicate. (As you might sense: Yes, this genre tends to be at least partly a bit of a parody of the punkpunk idea. Though it also can be played straight as “Cyberpunk conflicts, just that all technology is somehow magic.”)

As an aesthetic: This is once again one of the examples, where there is a clear idea behind it – but absolutely no clear aesthetic, as this genre might cover anything from medieval settings to a lot more modern stuff.

Punk-Factor: The base idea, being heavily inspired by the base idea of Cyberpunk, just from a very different perspective. But too many people read the genre as “Magic Technology, yay”, in which case, no, it is not punk.

Examples: Dungeons & Dragons can be played this way, also Final Fantasy VI – XIII definitely counts.

Sandalpunk

As a genre: I mostly include this for the sake of it, because this genre tends to boil down to “fantasy set in ancient Greece or Rome, but with vaguely anachronistic elements”. It might also include alternate history stories (even going so far as Science Fiction) based on the idea “What if Ancient Rome/Ancient Greece never fell?” There is no real overarching themes, even though I could imagine some interesting way one could build those up. So far, though, it is mostly a vague gesture towards: “SciFi Fantasy, but with more ancient civilizations.”

As an aesthetic: The aesthetic is usually just Ancient Rome or Ancient Greece, but with more magic or anachronistic elements.

Punk-Factor: Given the super vague nature of the genre and the fact that it seems more like a genre of hindsight (with most media being declared this having been released even before 2000)… Nobody wrote those stories to be punk. The one punk thing I can see about several of these stories is people challenging Gods, but… That’s about it.Examples: Hercules: Legendary Journeys (1995), Xena: Warrior Princess (1995), God of War (2005)

Stonepunk

As a genre: The basic idea of Stonepunk is, that it is set in a stone age world, but with the technology being pressed towards a very anachronistic end, which is often played for laughs. Basically it gives stone age people a modern seeming world, though not really. Often enough this is used to make a point about the modern world and parody it in some regard. An argument can be made for stories, that feature stone age technology people being somehow subjected to modern technology (for example through time travel or space travel) also possibly falling into this genre.

As an aesthetic: Usually the aesthetic of Stonepunk is one of an overplayed stone age setting. The clothing characters might wear are not what we know is historically more accurate but really just “everyone wears a pelt around their shoulders”. Meanwhile stone age tools get spun to be used as all sorts of modern technologies.

Punk-Factor: The genre does usually not feature punk themes. However, the nature of parodying and challenging the modern world tends to be punk in its own merit, I assume?

Examples: The Flintstones (1960), The Croods (2013), Horizon: Zero Dawn (2017)

That's it. That's the list.

Feel free to add to it.

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stardustpr1ncess · 2 months

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Bonzle is 100% without a shadow of a doubt a trans allegory. People have been trying their best to say Sora isn't transcoded, but Bonzle is 2 scenes away from looking at the camera and saying "Hello. I'm a trans allegory." I shall now go into detail on every piece of evidence for this claim because fuck you.

EPISODE 5: Bonzle is afraid of how her found family will react to learning she's a spell (trans) and worries she will be rejected because of it. Easy parallel to trans people being afraid of revealing they're trans post transition. There's also her conversation with Bitch Boy Master Wu, with her saying she feels great loneliness, and only after gaining a physical form (transitioning) she feels happy and her true self. Very common trans experience. Gonna also put all of the quotes for my evidence as well since I know there's transphobes (filth) that like Ninjago and will be scrambling to deny it when people start coming to this conclusion too.

"Bonzle: I-- I was afraid of what you'd think if you knew about my past... Wu: It's called loneliness... Bonzle: I feel like, for the first time ever, I've become who I was destined to be... Bonzle: I was afraid if you found out I wasn't a real person, you wouldn't want me to be in our family anymore."

EPISODE 6: Bonzle is apprehensive about meeting with Gandalaria, seeing as how she's only known Bonzle as a spell, aka pre transition. She worries if she will respect her identity, much like how actual trans people fear how their family, more specifically a parental figure, would react. Bit of a light episode but an important aspect, here's the quotes;

"Bonzle: The Sorceress. She only knows me as a spell. What if she doesn't believe in me as a real person?"

EPISODE 7: This episode is the sauce. Bonzle is reunited with Gandalaria and their conversation is nothing short of magical. Gandalaria immediately recognizes Bonzle, saying she was her greatest creation and had always hoped she'd come home, shattering Bonzle's fears. It's a fantastic contrast, showing how this interaction can go well for some people, while others get an interaction much more akin to Sora's parents. When she's informed of Bonzle's chosen name, Gandalaria immediately starts using it, saying it's a great name. However, for that juicy authenticity, Gandalaria accidentally says spell before quickly correcting herself saying Bonzle. IT'S LITERALLY SO FUCKING OBVIOUS BONZLE'S BONES MIGHT AS WELL BE BLUE PINK AND WHITE. Oh yeah, here's the paragraph of quotes;

"Gandalaria: It's you! My dearest! You've come home! Bonzle: You... You recognize me? Even in my boney physical form? Gandalaria: Oh, I would know your true essence anywhere. Bonzle: I was so afraid you wouldn't accept me for who I am now. Gandalaria Are you kidding? I put my heart, my soul into every spell I weave... The most complex spell I've ever woven, and the first of my creations to ever come back to me!.. Bonzle: I'm Bonzle. That's the name I chose when I became a person. Gandalaria: Well, that's a splendid name... If this Ras times it right, he could reverse the power spell-- uh, Bonzle here--."

EPISODE 9: This episodes importance comes from Jordana, who acts EXACTLY how transphobes do. She constantly calls her a spell (some sort of derogatory term), says she's playing person (like pretending to be a girl), and says she's helping her do what she was made for, like transphobes very creepy beliefs in reproduction. Literally you half expect Jordana to ask which bathroom Bonzle uses since she was a spell. THE QUOTES;

"Jordana: Settle down, spell. I don't know what you think you've been doing, playing person with your fake family, but I know your true purpose... You should thank us. We're helping you to do what you were created to do."

In conclusion the silly lego skeleton girl is one of them spooky transgenders. Lmk if there's anything I missed. Thank you for reading.

#ninjago #lego ninjago #ninjago dragons rising #lego ninjago dragons rising #dragons rising #dragons rising season 2 #ninjago spoilers #dragons rising spoilers #ninjago bonzle #ninjago Gandalaria #ninjago sora

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lina-studen · 3 months

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"something floral": literature student blabbering about the usage of flower symbolism in "nevermore", how it ties to the theme of insanity and a little bit (a lot) about shakespeare.

from lenore's perspective, flowers are closely associated with isolation caused by her trauma and supposed "hysteria". floral pattern wallpaper accompanied her loneliness for days, months, even years. image of the flowers signaled that lenore's position would remain unchanged, that she was stuck, that she would continue to slowly loosing the clarity of her mind.

having torn the wallpaper off the walls, lenore believes that she will never see this image again, but flowers continue to accompanying her. lenore sees them again during her first meeting with annabel lee. and during the last one, too. she may have managed to get out of her lonely room, gain more strength in her legs, find a new friend, but lenore is still trapped. she's the daughter disowned by her parents, a stain on the family reputation that must be hidden forever. the image of flowers doesn't let her forget about it.

similar symbolism is also not alien to annabel lee. episode 66 is interesting in particular, because it directly quotes ophelia's monologue. I'm a big fan of shakespeare, it was he who instilled in me an interest in floral symbolism. a year ago, for a conference on foreign literature, I wrote an article about flower language of "hamlet". it's not available in english, but I'll list down some points that I considered relevant regarding "nevermore".

• rosemary can serve as a keepsake between lovers and also between the dead and the living. it could be seen at both weddings and funerals. in the old days it was also believed to be helpful in mental illnesses treatment.

• pansies, just like violets, symbolize innocence and devotion. ophelia doesn't consider the people around her worthy of violets, since she blames them for the death of her father.

• rue is a symbol of eternal suffering; grieving over her murdered father and the loss of her beloved hamlet, ophelia leaves some of the flowers for herself.

• the image of daisies has a close connection with the concepts of innocence, fidelity and eternal love. in shakespeare's tragedy, this symbol is overshadowed by the fact that in the world around ophelia there's no place for these beautiful things. for "nevermore" the symbol is also not so positive, since the readers are already familiar with daisies. they were on that wallpaper in lenore's room.

it's impossible not to note that annabel lee recites the monologue while in the bath, in the water. ophelia decides not to resist the river flow. her life turned into a tragedy: she was left without a father, her lover has seemingly lost his mind. her own sanity is also called into question. ophelia sings cryptic songs, goes into the field to weave a wreath, gives flowers to other characters. in the eyes of those around them, hamlet and ophelia seem crazy, while being the only sane and honest people among them. there's no place for tender, innocent ophelia in a cruel, deceitful world, so she drowns.

annabel lee also reflects on how both she and lenore are considered madwomen. her meeting with "leo" is accompanied by floral pattern on the annabel's dress. their madness is contextual, they both are perfectly sane, but don't fit into the system that could be leading to real madness with time. "all madwomen die twice. at least twice".

now about the arboretum. it obviously has a lot of flowers, but in my opinion this place is interesting in a different context. lenore and annabel visited the arboretum twice to discuss upcoming plans and such, and there are many parallels, both visual and narrative. not much time has passed since last time, but their situation has changed. they seem to look on their past selves from the upper level, having their conflict more acute now. I'll make a more detailed post about it later.

and now I'll just focus on how the characters in this arboretum full of roses behave as lost and confused as in the phobia-inducing flower labyrinth from earlier episodes. “the closer you get to beautiful flowers, the closer you get to their thorns,” says duke in episode 38. the flower imagery haunting the main characters doesn't let them forget that their sanity is always on a verge of slipping. and once a flower falls from its stem, it cannot be fixed.

p.s. guess which writer’s works I chose for a new article this year?

#nevermore webtoon #nevermore theory #am i a total loser for spending so much time on this post #yeah absolutely #but im glad i got to share my thoughts #lenore nevermore #annabel lee nevermore #annabel lee x lenore #nevermore webcomic

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rainbow-scarab · 11 months

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Hallownest Symbols, the Ancient Civilization, and the Pale King

Sooo. Since I made my post on Hallownest symbols I've had some new insights.

The Hallownest symbol, with its lined oval and three sets of wings, predates the kingdom as it was under the Pale King and White Lady. It can be found on arcane eggs.

Lemm, on arcane eggs: This civilisation may claim itself the first, but something else did exist within this place before Hallownest. Each egg offers a narrow glimpse into that forgotten age.

It's not just the arcane eggs though. The symbol can also be found in the Abyss, on the lighthouse. Sorta.

You see, the lighthouse isn't just one structure--it's two. It's an older, crumbling structure....and then the new shiny construction that the Pale King added on top.

And looking at the older structure, the platforms themselves have the Hallownest symbol on it. Oval with wings.

Another detail I've noticed in the Abyss is that this structure isn't the only one. It can be seen in the background around the void sea:

Just, further cementing the thought that the old crumbling building beneath the shiny new top is not a construction under the Pale King, but instead something quite ancient. Just one of many buildings, a conveniently tall structure for the Pale King to repurpose into a lighthouse.

So what does this mean?

Various sources in the game point to the Pale King having portrayed himself as the creator of Hallownest. Lemm, in his quote above. And some more examples:

Lore tablet in King's Pass: Higher beings, these words are for you alone. Beyond this point you enter the land of King and Creator. Step across this threshold and obey our laws. Bear witness to the last and only civilisation, the eternal Kingdom. Hallownest

Hunter's Journal, on wingmoulds: The bugs of Hallownest believed that their King created this world and everything in it. For what purpose, I wonder? Were his subjects companions, or toys, or children? Such a mind seems unknowable.

The developer notes in the game also indicate that the Pale King wanted to get rid of other gods:

The moth tribe were (perhaps) descended from Radiance. However, the King convinced them somehow to seal Radiance away. I guess so he could rule Hallownest with his singular vision, as a monarch/god with no other gods.

The dev notes are not canon and it's clear that they were never intended to be seen by others. But I think there's something to be said at least for him attempting a "singular vision". Uniting Hallownest under one rule, portraying himself as creator, creating a certain order. Some more quotes:

Bardoon: For quiet retreat did I climb up here, away from spitting creatures. Ormmph... Yes. High up. Away from simple minds, lost to light. Theirs is a different kind of unity. Rejection of the Wyrm's attempt at order.

Mask Maker, reacting to Ghost having King's Brand: No bug has ever laid claim to this whole. Even the beasts knew their limits and bound their realm at Nest's edge. It is the ancient caste that made attempt at such vast rule. Hallownest's ruin reflects well those fared attempts.

I believe Mask Maker is referring to the Ancient Civilization having attempted to rule over all of Hallownest. There's a possibility they're referring to Hallownest under the Pale King, as "ancient" does not necessarily mean what fans call the Ancient Civilization (and indeed most instances of the word "ancient" refer to Hallownest under the Pale King). But "attempts" being in the plural, I think Mask Maker intends to draw a parallel here between the two civilizations.

Speaking of King's Brand...

I believe now this is the best symbol of the Pale King we have. His original symbol.

As I noted in my first post on Hallownest symbols, the Hallownest seal seems the most associated with the Pale King when it has the crown on it. And the few actual depictions of him, in statues, idols, and shrines, all have his crown, but lack wings. Save for the glowing silhouette of him in Ogrim's dream battle, there are no depictions of him with wings. He may lack wings entirely, or have some form of artificial wings.

In fact, I find it quite interesting how you can pick up monarch wings as an item.

They are described by the game as being made of "ethereal matter". The game manual calls them "wings of a monarchfly". It's possible that the Pale King had such wings as seen here, not part of his original body, but made somehow.

And, just to look at the symbols again...

If one were to superimpose the old Hallownest Seal from the time of the Ancient Civilization on top of the King's Brand, you'd get the current Hallownest Seal. Oval Bug body, wings, crown, and tail.

So, what I'm thinking, the impression that I'm getting....

The Pale King came to Hallownest. He saw all the evidence of the Ancient Civilization, which had already fallen. He took on bug form (which may have happened before or after he saw the symbol and other evidence of the ancient civ, but I have to wonder if witnessing Hallownest's history and symbols influenced even this decision to become small). He, for reasons beyond the purpose of this post, decided he wanted to rule Hallownest as king and "creator" (which again may or may not have been part of his decision to be reborn).

He established his kingdom. He took on aspects of preexisting Hallownest, essentially claiming the legacy of the Ancient Civilization as his own. He took on bug form, and gave himself wings, to match this old image, as if it was always about him.

He established his palace in the Ancient Basin. He had access to the Abyss, mostly closed off from the rest of the populace. He studied the void. But the bugs of the Ancient Civilization had a different attitude about void, as indicated by Lemm in the Hunter's Journal entry on the void idol:

Inspired or mad, those ancient bugs. They devoted their worship to no lord, or power, or strength, but to the very darkness itself.

The Pale King instead was worshipped as a god by his people. He instead treated the void as something to control. He studied it. He tested it. He created void constructs to guard his palace. He used it, to stake the future of his entire kingdom on.

I could go on and on about this. And I intend to. But this is as far as I will go in this post, meant to be an update to my last post on symbols. But, I already have a long post I put together months ago, didn't post, and just have to update with new thoughts. So hopefully, I'll be expanding on all the implications here for Hallownest history soon enough.

#hollow knight #hollow knight theory #hallownest #ancient civilization #pale king

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