#futuristic kitsch
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Hardly to be pictured as George Jetson's sort of work station at Spacely Sprockets:
#hanna barbera#futuristic kitsch#photo headcannon#the jetsons#workstation#spacely sprockets#george jetson#hannabarberaforever
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probably listening to crystal castles and thinkin about pegging
#suggestive#rave#cybercore#cyber y2k#futuristic#cat#leopard print#trashy aesthetic#trashy y2k#kitsch#me
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Margaret modeling the latest in portable brain scanners...
#futurist#retro fashion#camp#icon#kitsch#legend#star#diva#halloween#cult#trash#1950s fashion#retro aesthetic#retro style
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I cannot think of a theme pink doesn't work in. there's the obvious ones like rococo, brunch, picnics, gardens, ect but like.
classic halloween? still works with pink!
christmas? works with pink!
cyberpunk? throw in some pink, it adds flavor!
vampires? better with pink!
sci fi? you need pink for the bisexual lighting!
minimalism? pink works
maximalism? pink WORKS
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XDINARY HEROES AS AESTHETICS.
🌐 seya : before we dive into an amazing world of web-aesthetics, there are few things that i’d like to point out. first of all, i chose aesthetic for each member based solely on my associations with their vibe. meaning: i associate the vibe of aesthetic with them, rather than the history behind it. secondly, some of the information was gathered from such sites as:
https://cari.institute/aesthetics.
https://www.are.na.
https://eyeondesign.aiga.org.
now that we got that out of the way — enjoy!
𝐠𝐨𝐨 𝐠𝐮𝐧𝐢𝐥 : 𝐃𝐈𝐍𝐄𝐑 𝐊𝐈𝐓𝐒𝐂𝐇
“baby boomer & silent generation revival of various 1940s-1950s cultural iconography, design, and kitsch associated with diner, drive-in's and malt shop culture. jukeboxes, poodle skirts, 1950s advertising kitsch, neon, chromed-out automobiles, metallic paneling, 'american graffiti'-style fonts.” — ©️ cari institute.
diner kitsch – aesthetic familiar to everyone, yet not that many people know it’s actual name (or that it is, in fact, an aesthetic!). checkered floors and walls, milkshakes, burgers, neon signs and, of course, waitresses on roller skates — these things define diner kitsch. originating from 1950s, when diners were seen as a place, where you could enjoy a hearty comfort food and have a good time with your family or friends it was finally revived in our years through media that depicts mainly high schoolers or travelers of any sorts, going out for a dinner.
🌐 seya : i chose diner kitsch for gunil because he is literally the embodiment of a nerdy boy who would definetely hang out with his group of friends in a place like that. doing homework, reading comics, getting cookies on the house because of how often they visit a diner… 🥤🍔 yum!
𝐤𝐢𝐦 𝐣𝐮𝐧𝐠𝐬𝐮 : 𝐍𝐄𝐎𝐍 𝐍𝐎𝐈𝐑
“the term neon-noir is a film genre, but it can also represent an aesthetic. this aesthetic includes a brooding, mysterious, cyberpunk, and dangerous atmosphere. the neon-noir aesthetic can be related somewhat to the sibling-genre neo-noir (without the “n”), including avant-garde fashion, femme fatale style, dark clothing, technology, and neon lights.” — ©️ wendy zhou (from her blog wendyzhou.se)
neon-noir (also known as future-, cyber-, tech-noir) was born in the film industry around 1980s, when sci-fi was blooming yet again. not so popular in web, it is still quite known in gamer community, thanks to such games like “cyberpunk 2077”, “anno mutationem”, “blade runner” etc. this aesthetic is mixing old-school noir with futuristic elements, giving it a whole new look. neon signs, robots, androids, futuristic technology are going hand in hand with good old detective genre, accented shadows, rain and fog.
🌐 seya : i find this aesthetic to be the most suiting to jungsu. i can imagine him in this type of setting so well and i’d actually like to read or even write something, where he is portrayed as a detective in a mysterious and futuristic setting!
𝐤𝐰𝐚𝐤 𝐣𝐢𝐬𝐞𝐨𝐤 : 𝐀𝐂𝐈𝐃𝐆𝐑𝐀𝐅𝐈𝐗
“rule-bending, medium-blending "instagram grunge". full of horror vacui, chrome type, oddball textures and self-referentialism.” — ©️ cari institute.
originated in the 1990s and revived in 2010s, acidgrafix (also known as: acid graphics and acid design) aesthetic is mainly seen nowadays on the covers of music albums. bright colors (usually red, orange and neon green, neon yellow, neon purple), wireframes, distorted images, liquid metal forms – all of these are key elements of acidgrafix. the term acid, as you might’ve already guessed, came from the acid house and rave culture. it first appeared on flyers, used to promote and to invite people to raves. smiley faces (of course, resembling nothing else but the actual drug), op-art-esque patterns, sci-fi futurism – all of these were such an eye candy for party-goers, that soon enough this style overtook the music industry. after being long forgotten in the 00s, acidgrafix finally found it’s new home in instagram, where musicians would design their insta-stories and albums with all of the key details of this aesthetic.
🌐 seya : aaand this is the part that i was worried about the most. this aesthetic took it’s origins not from the best culture, but i still find it’s style being quite suiting for gaon. it’s bright, innovative and bold – just like he is!
𝐨𝐡 𝐬𝐞𝐮𝐧𝐠𝐦𝐢𝐧 : 𝐓𝐄𝐄𝐍 𝐏𝐔𝐍𝐊
"the millennial and gen-z iteration of edgy grunge aesthetics, associated closely with "pop punk" and the store hot topic." — ©️ cari institute.
*puts a cd in the drive, "girlfriend" by avril lavigne starts playing* now that we're in the mood, let us find out what the hell is a teen punk. the dirty, the angry, the free and THE wild – this aesthetic conveys the whole essence of the rebellious period that every teenager eventually goes through. you can usually see this movement being expressed through clothes, style, make up and, most importantly, music, rather then the way you could draw something or edit a photo. mainly seem in early 00s, teen punk found it's new home in hearts of people through nostalgia that overtook us all as soon as pandemic started. this aesthetic combines different colors like foggy green and blue, obviously black, red and pink (yes, the tricolor of emo aesthetic is very important here). essential details of teen punk are denim jackets, torn jeans, big ass t-shirts with logos of musical groups, fishnets and those humongous military boots that everyone used to wear. the pioneers of this movement are mainly musical artists, like the infamous avril lavigne, all-time favorites my chemical romance, green day, paramore etc.
🌐 seya : now i need you to look me dead in the eyes and say that THIS isn't his aesthetic. bro literally dresses as if hot topic was more grunge and still managed to survive.
𝐡𝐚𝐧 𝐡𝐲𝐞𝐨𝐧𝐠𝐣𝐮𝐧 : 𝐆𝐑𝐀𝐅𝐅𝐈𝐓𝐈 𝐏𝐎𝐏
"first wave of corporate appropriation of graffiti culture. typically includes urban streetscapes & iconography contemporary to the time period (eg. trash cans, brick walls, chain link fencing, street lamps, sidewalks, industrial elements, general 'urban decay'). it's also associated with that eras' portrayal of street, hip hop, & punk culture." — ©️ cari institute.
disclaimer: this part is mostly retelling of an article from this site: https://www.grafftergallery.com/2023/08/graffiti-pop-art-vivid-intersection-of.html | i really don't think that i would be able to express myself better than they already did, so let me give the credit to the rightful authors!
this aesthetic is a firm proof of the dynamic between street culture and the world of art that was born in early 80s and was especially popular till the 00s. bright colors, bold splashes of different patterns, provocative slogans, popular singers, models, tv personalities – it screams fight for the freedom of self expression. this movement is first and foremost was heavily affected by socio-political issues, causing street artists to voice their concerns through art. graffiti itself is a rebellious act (you're literally damaging private property) and when you mix this with media icons and pop culture that was thriving, you're guaranteed to have all the attention that you need.
🌐 seya : i feel like this aesthetic really suits jun han because in my eyes he is one of the most brave idols in terms of expressing himself through his style and art.
𝐥𝐞𝐞 𝐣𝐨𝐨𝐲𝐞𝐨𝐧 : 𝐑𝐄𝐓𝐑𝐎 𝐒𝐔𝐑𝐑𝐄𝐀𝐋𝐈𝐒𝐌
"let's take a look at what is included in such aesthetics as retro-surrealism (also known as airbrush surrealism and included in the subgenres of retro-futurism), shall we?"
retro is an imitation or conscious derivative of a lifestyle, trend, or art form from history, included in music, fashion, or looks. the retro art movement always invariably revives and in one way or another refers to everything that happened in the past. surrealism is an art direction that always strives to revolutionize human experience. it balances a rational vision of life with one that asserts the power of the unconscious and dreams. combining these two trends of media art, we get abstract paintings made in the style of sci-fi comics from the 70s-90s. very often they feature elements such as musical instruments, outer space and electronic objects such as telephones, radios, televisions, etc. usually such paintings are airbrushed, which gives them a slightly hazy, matte effect, typical for surrealism (promotes immersion into the unconscious me thinks!).
🌐 seya : i love, love, LOVE this one so much, i just had to give it to my favorite boy jooyeon! i feel like this one suits jooyeon just because he looks like that one dude obsessed with weird ass comic books, always going around with his old mp3 player and vibing to daft punk bangers. sorry not sorry, no one is getting this image out of my head.
#xdinary heroes#goo gunil#kim jungsu#kwak jiseok#oh seungmin#han hyeongjun#lee jooyeon#jun han#o.de#xh#🌐 : seya talks.
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ARCHITECTURE STUDY : CYBERPUNK 2077
Cyberpunk architecture is a sub-genre of architecture the draws inspiration from the futuristic, dystopian settings found in cyberpunk literature and movies. It is often identified by a blend of futuristic, high tech design and gritty industrial features. The architecture draws heavily from the architecture of the 20th century—primarily the Brutalist movement. The Brutalist movement is a style that developed in the 1950s in the United Kingdom post World War II. There is a distinct emphasis on materials, textures, and construction. Cyberpunk architecture makes use of the Brutalist movement’s concrete, steel and glass concepts in a natural and unpolished manner. Yet, it manages to add high-tech elements such as holographic projections, neon lights, digital displays, etc. In the case of Cyberpunk 2077’S Night City a sprawling metropolis with large skyscrapers and mega-buildings create the beautiful skyline, yet the city is an evident mix of old and new—run down buildings manage to co-exist with high-tech structures. Night City uses a lot of references to L.A, Detroit, Tokyo, and Hong Kong, however they primarily worked on from a clean slate. Urban Design experts were involved in the process to ensure that Night City looks credible—moving as a real city.
Night City wants to make you feel small and meaningless. The higher the building the more dominant it is. What happens behind the building is of little importance. That is why you get slum like areas even in the more central locations. Although there are obviously some things that could have been done about it, it seems that Night City was not built as a Theme Park. The image of the city, or how the inhabitants see it seems of little importance. Night City is a living, breathing metaphor. It is what you get when ambition, violence and overpopulation are the core foundation of the world you are building. Everybody wants a piece of the pie even if there is not enough for everybody. There are four varieties of stylistic identity used in the construction of the game: Entropism, Kitsch, Neo-Militarism, and Neo-Kitsch:
Entropism: Necessity over style. Buildings created in this style are old, grey and decrepit and are will often be found in areas where people cannot afford to modernize with the rest of society. Entropism, is a style based on poverty and a severe lack of resources. In a nutshell, this style visually tells the story of the very poor social layer of our world.
Kitsch: Style over Substance. Counter-Cultural movement against the austerity of the old days; an expression of happiness an d recovered. Bold colors, bright plastic and accessibility. Kitsch describes a slightly richer social layer of our world. Members of this social class would use some cyberware just to look amazing and grab attention. Architecture here would also be very attractive, with a lot of vibrant colors, a lot of shiny materials like plastic or good fabrics.
Neo-Militarism: Substance over style. Separated from the austerity of Entropism by its sleek and domineering aesthetic. It’s power dressing and has an air of luxury. A deadly layers of elegance and corporate, militaristic fashion. Associated with mega-corporations. Neomilitarism is very minimalistic, very rich, and very sleek.
Neo-Kitsch: Style and substance. Holds similarity to Kitsch however it lacks semblance to the movement its predecessor aligned with. This is the youngest style in Night City but also a style only for the richest of the rich. People so rich you cannot even begin to imagine what you would do with all the money that they have. It uses only the most expensive materials in our universe like wood, gold, real animal leather and very unique but slick architecture design.
ARCHITECTS BENJAMIN BALL AND ALEX READINGER'S REVIEW OF NIGHT CITY IN CYBERPUNK 2077
Do you think it is realistic, what it would be like in 2070?:
Benjamin Ball: “I think cities are going to become more and more dense. We are going to be more packed in close to infrastructure. Old zoning rules will not apply. We will have to build closer and higher—we will have to build closer to freeways. People will have less personal space. There will be more, and more, runaway capitalism…Yeah maybe this [Night City] is a good take on what 2077 would look like...Hyper dense, very vertical places. “A lot of signage take on a lot of visage on the buildings.”
How sustainable do you think the city will be?
Alex Readinger: “It doesn’t look sustainable at all. There are wall-mounted exterior air conditioner units. This particular cyberpunk version has this ‘Bladerunner’ neon, whereas my version of the future would be powered by algae.”
Benjamin Ball: “Hard to say. Out environments would be synthetic—will be manufactured….Climate will have changed. It will be like living in a machine. Is that sustainable? I don’t know…We would be a lot more solar, a lot more nuclear, and a lot more hydrogen. Who knows?
Cyberpunk 2077 captures a lens of the world that encapsulates the future not just architecturally, but also sonically, politically, and in every single way.
Alex Readinger: “What is frightening is that it feels like a world without relief. Endless sex shops, neon—no end to the noir experience.”
Benjamin Ball: “Endless trail. Endless maze. There is no break from the commercialism of it. Nothing comes out as sacred. There is no nature—it is all about consumption and desire. It’s relentless and it’s where we are headed.”
When you get to the columbarium—even death has be industrialized. “Step up as a uniform and non-personal gridded space with a digital readout. Even spaces that could be sacred was specifically designed not to be.” (Alex Readinger)
PROJECT: HOW/WHY IS IT APPLICABLE?
I plan to recreate chosen locations in Louisville while staying true to architectural design choices that have been used to create Cyberpunk 2077’s Night City. Since cities do not have to be recreated to have a Cyberpunk feel. All a city needs to go through is layers and layers of add-ons while keeping everything in the past. So I will do that exact thing with Louisville. Staying true to our local history while adding a bit of the fictional narratives associated with the Cyberpunk 2077 universe. For example, the downtown builds may depict Humana or the PNC Bank as a “mega-corporation” that domineers over all. Additionally, I will apply the concepts of brutalism into my builds as well.
SOURCES
https://youtu.be/HnlaJFf7mC8?si=2PuUSZLs6lAAJUhl
https://www.domusweb.it/en/architecture/gallery/2020/12/21/night-city-how-the-cyberpunk-2077s-megalopolis-was-built.html
https://iuliu-cosmin-oniscu.medium.com/a-brief-look-at-cyberpunk-2077-city-design-night-city-66b54f686b66
https://www.architecturaldigest.com/story/inside-the-design-of-cyberpunk-2077s-urban-dystopia
https://www.architecturaldigest.com/story/brutalist-architecture-101
https://cyberpunk.fandom.com/wiki/Neokitsch
https://cyberpunk.fandom.com/wiki/Neomilitarism
https://cyberpunk.fandom.com/wiki/Kitsch
https://cyberpunk.fandom.com/wiki/Entropism
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A Beginner’s Guide to Shibuya-Kei: Crossing the West to East
Shibuya kei is a Japanese genre that emerged in the 1990s from the trendy Shibuya shopping district of west Tokyo, which is home to some of the world's most fashionable and well-stocked record and clothing stores. Shibuya kei which directly translates to Shibuya style was the name given to the like-minded pop musicians who emerged from this consumer culture, a group of young Japanese weaned on a steady and amazingly eclectic diet of Western pop exports; the result was an unprecedented collision of sights and sounds. The music genre is characterized by a "cut-and-paste" approach inspired by previous music styles. The culture of the 1960s and Western pop music, particularly the work of Burt Bacharach, Brian Wilson, Phil Spector, and Serge Gainsbourg, had a significant influence on its sound. While Shibuya kei was not the first retro-futurist pop movement, it was one of the most daring and made even more distinguishable by its kitsch, retro fashion aesthetic. Fans of city pop, 60’s french pop, synth-pop, and even new wave would enjoy listening to Shibuya kei because of the similar sounds the genre has.
Some Popular Shibuya Kei Artist to check out:
Lamp, CAPSULE, Pizzicato Five, Flipper’s Guitar, Cornelius, Fishmans, Perfume, HALCALI, Kahimi Karie
Beginner’s Playlist to Shibuya Kei
https://open.spotify.com/playlist/79ZfbZG7wjvefsmQsg5qGk?si=1b68b85fa0434ebc
#music#shibuya kei#shibuya#japanese music#pop#pop music#indie music#indie pop#japanese indie music#japan#new wave#lamp#lamp band#fishmans#city pop#70s music#70s#80s music#80s bands#90s#90s music#90s bands#synthwave#synthpop
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I have so much stuff to say about Bayonetta 3 that I don't even know where to get started but I'd like to comment how they changed its vibe and aesthetic to a more "mainstream" appeal.
One of my absolute favorite things about Bayonetta and that made me a die-hard fan was its antique and catholic/biblical/ethereal appeal. Growing up in a Catholic family (and being the black sheep for going in a opposite direction), I found myself more scared of angels and their other entities than whatever. Everything in Bayonetta was so familiar yet so new, the whole recreation of religious motives are fascinating.
Everything in Bayo 1 and 2, specially 1, has this rusty but ethereal feeling that I recognize from old churches and cemeteries but with a hint of camp. At the same time, it's futuristic in its own way, in a "retrofuturistic" (sometimes steampunk?) sort of vibe plus kitsch and baroque and classic and medieval. The art in Bayonetta was... *Chef's kiss*. It was unique, had a lot of personality and was a perfect mixture of usually opposite themes. Bayonetta made Catholicism look queer.
When I saw the teaser for Bayo3, after the euphoria came down, I was skeptical of it looking a lil cyberpunk-ish. I've always been afraid of Platinum going for this direction with Bayonetta because it seems to appeal better to a bigger audience, specially considering Astral Chain and the success of Nie:R Automata. I was willing to see the final product though.
As more information came up, the more bummed out I was. When I look at the overall art in Bayo3, I can barely recognize the game I became so fond of. Suddenly she wasn't an angel slayer anymore, everything was about humanoids or whatsoever, and it was just... Not there. I was expecting the human world to be further explored in the series but in a whole different way.
Is Platinum trying to replicate the buzz from games like Cyberpunk 2077? Are they making their games look similar to one another so they can all belong to the same universe?
Not to mention of how "cutesy" (and, I dare to say, neutered) she is now.
So yeah, I know this is dumb, but seeing that they changed the aesthetics to a more mainstream and cyberish one was a big disappointment regarding Bayo3. Not even the title screen is recognizable for me. If this is the definitive direction they're going for now, boy, I'm so going to miss the old times.
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ꜱᴇɴꜱᴇꜱ ᴀɴᴅ ᴏᴛʜᴇʀ ꜱᴘᴇᴄɪꜰɪᴄ ʜᴇᴀᴅᴄᴀɴᴏɴꜱ
WHAT DOES YOUR MUSE SMELL LIKE?
She definitely puts effort into ensuring she smells a particular way; generally a neutral fragrance that’s applied lightly. The base notes are vanilla & tobacco leaf, with a top note of lemon. It’s a ‘warmer’ scent that’s sort of sits on the border of classic and kitsch. It’s not over the top but its not a background scent like more classic fragrances.
WHAT DO YOUR MUSE’S HANDS FEEL LIKE?
This is a fun one since having a fully cybernetic arm and one organic arm kind of creates an interesting contrast. On one hand (literally) her hand is soft, but usually tensed. There’s deep creases and rough sections on her right palm, definitely holdovers from a past of field work and combat experience. Her left arm being a cybernetic replacement feels cold and metallic, wholly utilitarian and probably a little uncomfortable. Together they create a juxtaposition between human, warm, and empathetic and cold and metallic.
WHAT DOES YOUR MUSE USUALLY EAT IN A DAY?
Probably usually pretty utilitarian during the morning / afternoon. Cross is likely pretty busy during the day so I imagine a pretty short lunch that’s likely ate on the job or at their desk. Dinner is probably a little more flexible and also just the best opportunity to spend time with others (usually in a business context but also in a friendly context from time to time) so meals at the end of the day are probably a little nicer, especially considering the people she’d usually have dinner with are corporate or corporate adjacent or have otherwise high-standing in the criminal underworld.
DOES YOUR MUSE HAVE A GOOD SINGING VOICE?
No, but she’s definitely one to sing in the car while she’s by herself. But she does not have a particularly well trained signing voice. In addition her vocal range isn’t very flexible and probably has a hoarser quality to it. Great for giving orders, but not particularly melodic.
DOES YOUR MUSE HAVE ANY BAD HABITS OR NERVOUS TICKS?
Cross definitely has a few, the most obvious is probably excessive smoking. Another is being a bit of an adrenaline seeker, usually manifesting in poor decision making (and speeding). Some smaller habits would be picking at her nails, clenching/tensing certain muscles such as her hands and shoulders, and mild restless leg syndrome.
WHAT DOES YOUR MUSE USUALLY LOOK LIKE / WEAR?
Cross kind of sits on the border of Neomilitarism and Kitsch-lite, generally (in most social situations, outside of combat operations) wearing clothes that are strictly neomilitaristic in form but incorporating certain kitsch patterns, colors, and textures as accent elements. So, for example, a white oxford with a subtle gold-weave pattern with rolled sleeves, a dark blazer with a red iridescent undertone, dress pants, and black fashion boots (say like a futuristic chelsea boot). Hygiene and hair wise she usually keeps a high standard, as she has to present an aura of professionalism to clients and employers. In addition, gold jewelry is a common accent, such as rings, necklaces, and bracelets.
IS YOUR MUSE AFFECTIONATE? HOW SO?
Not to most people, and definitely not initially. Given the nature of her work, background, and Night City in general most people probably won’t ever get to see that side of her. And she’s perfectly OK with that. If someone were to get past all her walls and prove to be trust worthy they’d definitely find affection in a loyal partner, but not someone who’s outwardly lovey-dovey even then.
WHAT POSITION DOES YOUR MUSE SLEEP IN?
Probably just simple pajamas, or like a shirt and shorts. I don’t think anything super specific, just whatever is clean and comfortable.
COULD YOU HEAR YOUR MUSE IN THE HALLWAY FROM ANOTHER ROOM?
Only if she was talking on the phone and upset about something. And even then it’d probably be intentional so that those in the hallway would realize she’s on the phone and not barge in or / knock.
tagged by: @scmuraimerc (tysm! this one had me Thinking)
tagging: @kenneld @korctyshka @vulpesse @exorkizein (bloodhound or your choice!) @horizonfled
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Book Review: 'Iron Widow'
Iron Widow by Xiran Jay Zhao
action
Asian sci-fi
gender studies
giant robot
rebellion
revenge
sci-fi
social commentary
superhero
My Rating: 4 of 5 stars
The unearned demands of the noble class breed a very particular, very familiar stench of greed. Surviving preferential dicta for race, ethnicity, and gender, one encounters a sociopolitical infrastructure whose foundational phobias sting the eyes into blinking. The bigotry, the intolerance, and the chauvinism are ubiquitous, and as such, sweeping efforts of immense chaos are necessary to shake the firmament. IRON WIDOW affirms what is occasionally, truthfully, philosophized: Abrupt revolution is necessary when gradual progress is rendered functionally impossible.
Such are the woeful accuracies framing the corrupt polity of the land of Huaxia, its many provinces, and the army under whose auspices each citizen pays tribute. Forced conscription, unyielding tax burdens, a world under siege from biomechanical alien entities. The glaringly forthright and uncompromisingly distorted culture of violence, scarcity, and sexism of Huaxia gives readers a clear window into the novel's trajectory: Everything is terrible, and one young woman, Wu Zetian, pledges to fight for a new paradigm until it kills her.
Lady Wu, by fashionable accounts, is a mad woman. But readers know better. Readers know she enlists to serve as a concubine, a position of fealty and support during military operations, only to exact revenge upon a pompous fool. Readers know she acquiesces to train with a convicted murderer, only to further her ambitions to end the war on her own terms. Readers know she signs a contract with a sleezy media magnate, with her own blood, only because the manufactured splendor of public adoration is the only mirror that outshines the stratified grandeur of the national army. Many people view Wu Zetian as a bit mad, sure, but everyone in her life has failed her, abused her, or misused her. Zetian cannot unmake the trauma others have wrought, but she can definitely become a nightmare all her own, and terrorize in kind those who deserve it.
IRON WIDOW offers contemporary readers the type of noisy, foul-mouthed, vengeance-seeking young female lead character so many fantasy fiction titles lack. The type of hard-luck woman so many books mimic in earnest but ultimately blink when the blade is swung, when the trigger is pulled, or in the case of IRON WIDOW, when the 40m tall mech transforms and starts ripping people's limbs off. Zetian never knew a good person in her whole life, so why would she ever desire to become one herself?
The novel's setting is a futuristic Asian fantasy realm complete with giant robots, ravaging otherworldly beasts, hover-vehicles, holographic displays, fantastical god-beings, powerful physical manifestations of qì, and sprawling military-industrial complexes. The author clearly loves the mash-up, as readers will find multiple references to ancient Chinese literature and lore alongside sci-fi exploits like transforming mecha that typify the zodiac. The kitsch may not be worth admiring, if the reader isn't in tune with either, but it's plenty enough for those whose interests rightfully intersect.
The best thing about this book is how thoroughly committed the author, and by extension, the protagonist is to seeing this story through to the end. Zetian, for example, isn't bitter and pessimistic about death because she has no options, she's merely giving as much violence as she takes ("Too bad. I am exactly the kind of ice-blooded, rotten-hearted girl he fears I am. And I am fine with that. May he stay unsettled," page 114). Some characters match Zetian's grit; others push back. Another female mech pilot, Dugu Qieluo, for example, is aggressively unlikable. Lady Dugu doesn't hesitate to throw a punch (at a supposed ally) and defends her personhood with vigor ("Never appease. No one's ever been respected for appeasing. The only thing you did was let them know there are no consequences to treating you like trash," page 295).
Fighting massive bug creatures in the wilds beyond the Great Wall occupy the official duties of these and other characters. But piloting giant robots to save humanity feels comically miniscule in importance when juxtaposed with the gravity of avoiding sexual assault, navigating corrupt officials, sniffing out traitors, and spitting in the eye of any supposed fate.
For example, Zetian allies with a wealthy young man, Yizhi, a possible paramour from her days as an impoverished girl in the mountains. Yizhi is a sympathetic man with a gift for big words. His kindness and his wealth seem limitless. But, "How far does the darkness in him go?" (page 183), she asks, knowing full well the corruption that girds her country doubtlessly lines the young man's pockets as well. A soft rich boy doesn't survive as one of dozens of sons what for being only a soft rich boy. He may be an animal, but evidently, Yizhi hides his teeth. A durable contrast to Li Shimin, a 19-year-old man convicted of patricide. Shimin is Zetian's co-pilot, and fittingly, the man is all rough edges, beset with the tired eyes and ruined liver of an alcoholic. Shimin doesn't hide his teeth, and his protective alliance with Zetian, a pledge to bark, tear, and destroy anything in their path, wavers on the border between keenly obligatory and affectionately benevolent. It's a love triangle appropriate for a novel layered with dead bodies.
IRON WIDOW is a thrill. It's difficult to find a fantasy book with female lead characters whose uncompromising disregard for state discrimination and fervent rebuke of institutionalized sexual violence manifest so clearly and cleanly. The first half of the book doesn't waver. Vengeance is on the table from the very first chapter. The action is pointed and the character dynamics are definitive. The violence only recedes when, in the second half of the novel, the story shifts into a rather strategic atmosphere, as Zetian maneuvers her successes and failures into greater grabs for political power.
Nevertheless, the book commits to characters-with-issues and unbuckles their ambitions with glee. It's a riotous adventure whose characters always know the stakes, and whose characters are just smart enough to know the pain of giving in to the greed of others is often greater than the suffering required survive on one's own terms. Buttressing these themes, compelling B-stories fill in the gaps, involving filial piety, bisexuality, the myth of popular karma, the quest to rid the world of entitled pricks, and the sad, disquieting inevitability of death ("Dread hollows through me. We spend so much effort living these lives, yet every trace of their substance and meaning can be erased so quickly. So easily," page 338).
❯ ❯ Book Reviews || ahb writes on Good Reads
#iron widow#review#fiction#writeblr#xiran jay zhao#wu zetian#ya fantasy#ya fiction#yizhi#tundra books#yang guang#characters with issues#strategic atmosphere#giant robots#the corruption that girds her country#zodiac#massive bug creatures#vengeance is on the table#shake the firmament
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🎞️Exploring architectural styles from movies
I searched online for some movies and animations that could inspire me. I watched The Matrix, Blade Runner, and Cyberpunk Edgerunner several times, paying attention to their visual elements. I noticed the distinctive architectural style that reflects the cyberpunk ethos of high-tech and low-life. The buildings are towering, crowded, and decaying which makes them oppression and inequality.
In Blade Runner, The city is filled with neon signs, holograms, and advertisements representing a high level of consumerism and corporatism. The streets are also under constant surveillance by cameras, drones, and police forces. I was especially impressed by the futurism in design and neon lighting that gave the city a vibrant and colorful look, where similar to my hometown - Hong Kong. I also learned about the Brutalist design style that was used in Blade Runner to create a contrast between the old and the new.
The New: Futurism is reflected in high-tech elements, futuristic design, and neon lights.
The Old: The Brutalist design style is exposed to concrete structures, heavy blockiness, and symmetry, which is also reflected in some buildings to show a primitive and strong visual impact.
In "The Matrix", the architectural style predominantly features industrial elements, such as exposed pipes, metal structures, and concrete walls, creating a primitive yet futuristic atmosphere. The film's color palette, dominated by dark and green tones, contributes to a sense of oppression and mystery, reflecting the theme of human subjugation by machines. The buildings in the film are generally simplistic and functional, devoid of excessive decoration. The incorporation of advanced technology and surveillance equipment in and around the buildings exemplifies the cyberpunk exploration of high technology and societal monitoring.
The architectural style of Night City in the animation Cyberpunk: Edgerunner is like
Night City’s architectural style is influenced by both the real world and science fiction works. In the role-playing game, Night City mainly draws on the design and inspiration of downtown San Francisco in the real world. In all versions, the city is always located somewhere on the central coast of California. In terms of style and theme, Night City - and the entire cyberpunk series - is influenced by Blade Runner, and Mike Pondsmith, the creator of the original role-playing game, also mentioned that Bubblegum Crisis, an anime, influenced him when creating the game. The version depicted in Edgerunner is divided into four styles: Kitsch, Entropism, Neo-military and Neo-kitsch. (Tommasino, 2020)
Kitsch style describes a slightly more affluent social class. The members of this social class use some cyberware to look very beautiful and attract attention. The architecture here is also very attractive, with a lot of bright colors, and a lot of shiny materials, such as plastic or good fabrics.
Entropism style is based on poverty and severe resource scarcity. In short, this style visually tells the story of a very poor social class in our world. Its core slogan is “necessity over style”. Entropism style design is based on everyday items that you can even see today, but we have some “cyberpunk twists” here, for example, maybe a mirror has a holographic user interface that shows the date and outside temperature, or maybe a table has a few buttons to control its height.
Neo-military style is a style based on military and security. The buildings and items in this style are very sturdy, durable, functional, usually black or gray. This style reflects the control and influence of mega-corporations and government agencies over Night City.
Neo-kitsch style is a style based on extreme luxury and personalization. The buildings and items in this style are very exquisite, expensive, unique, usually gold or white. This style reflects the most wealthy and powerful elite class in Night City.
Night City’s architecture is also influenced by Brutalist architecture, which is a style that uses bricks and concrete that emerged in the 1950s. Kacper Niepokólczycki, environmental design director of Cyberpunk 2077, said that Brutalist architecture played an important role in creating Night City. Brutalist architecture was also used in Blade Runner to create a contrast between the old and the new, the organic and the synthetic, the human and the machine.
📖References
Tommasino, M. (2020) ‘Night City: How the Cyberpunk 2077’s Megalopolis Was Built’, Domus. Available at: https://www.domusweb.it/en/architecture/gallery/2020/12/21/night-city-how-the-cyberpunk-2077s-megalopolis-was-built.html (Accessed: 20 September 2023).
🧸Due to copyright reason, we can only share the trailer, if you want to know the full version of the movie, please use regular channels to watch or buy.
Image 1 & 2 credit: Warner Bros.
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Check out this listing I just added to my Poshmark closet: C - HALLOWEEN sz 10 JACK-O-LANTERN LONG DRESS glow UV reactive pumpkins women.
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REVIEW: Playdurizm - Hauntingly Original & Visually Stunning Examination of Trauma
Playdurizm, directed by Gem Deger and written by Morris Stuttard, is a haunting fever dream where reality and fantasy collide in unique and visually stunning ways, while telling a dark and uncomfortable story.
Playdurizm follows Demir (Gem Deger) teenager who enters into a fantasy world with his movie idol, played by Austin Chunn. The film explores how Demir ended up in this world and explores his complex feelings about living in this new reality as he learns more and more about how he got there and what this world signifies for him.
Unique Visual Style and Surrealism
Playdurizm tells a dark and devastating story with a unique visual style, showing the dangers hidden behind glitzy fantasies. The moments in Playdurizm which work the best capture the dissonance between fantasy and reality through moments of horror. When Demir’s fantasy world is at its brightest or most technicolor, the darkest of questions hide just beneath the surface.
Playdurizm is about a teenager inside a fantasy world, shown through glitches and dreamy color schemes, and the directing, production design, and cinematography work wonders to capture this aspect of the plot. As a viewer, we feel thrown into this fantasy world, zapped into a world that feels both futuristic and retro.
The visual style and surrealism of the fantasy world remind me of the absurd surrealism and life hidden under layers in Casper Kelly’s short films Final Deployment 4: Queen Battle Walkthrough and Too Many Cooks. Like these surreal short films, Playdurizm captures the surrealism of dreams and creates a unique experience.
One of my favorite moments in the film expresses a unique sense of the world. We see a movie trailer representing what we have been seeing, but without Demir’s presence. This moment pushes the film in a wonderfully absurd direction, while leading to more questions about this unraveling mystery of Demir’s world.
Visually, Playdurizm is captivating and perfectly represents the film’s questions about reality and obsession. The visual representations of the edges of this fantasy world add a hauntingly beautiful quality to the film, and allow the devastating moments of the story to have a truly lasting emotional impact and be difficult to watch, especially surrounded by production design mixing dark kitsch with Barbie’s dreamhouse.
Playdurizm utilizes neon colors–especially pink, purple, and blue–creating a world that feels like a piece of art. When Demir first wakes up in this unfamiliar bedroom, living with Andrew (Austin Chunn) and Drew (Issy Stewart), he has no memories of this living arrangement, but feels a pull toward Andrew and a desire to have a more intimate relationship with the other man.
The floor of the bedroom is covered in blue-purple balloons, creating an environment that feels like a party–bright, inviting, and a little bit surreal.
As the film progresses, the colors grow darker, the pinks and purples still present, but as colorful lights reflecting off the darkness by which they are surrounded. Playdurizm utilizes this trend of neon to show how Demir’s fantasy grows darker and more violent as the film progresses.
Originality of Story
Playdurizm is a wholly unique experience tackling extremely difficult topics with mystery and surrealism befitting a fantasy. The fantastical aspects of Playdurizm constantly have a feeling that something dark and difficult to watch is just under the surface.
As I watched, I felt Demir's uneasiness. We know there is darkness under every surface and we see glimpses into the dark reality of the story as these glitches occur.
Playdurizm affectionately expresses its influences while creating a completely unique experience. As I watched this film, I was constantly in awe, unsure what would happen next and how far the film would go and how the character’s would react to every development.
Playdurizm’s tone feels lighthearted and glitzy, creating a palpable dissonance with the film’s darker themes, expressing the action of trying to cover up our worst memories through returning to the familiar and getting lost inside our fantasies.
Playdurizm brought to mind the wonderful Horror Express focused Creepshow episode Night of the Living Late Show, which showed a fan putting himself in the world of his favorite movie. Playdurizm wonderfully explores this idea as a means to escape the trauma of real life, creating a blend of visual styles and tones, highlighting the darkness as well as the false happiness of our fantasies.
Performances
Playdurizm’s dark surrealism works wonderfully to create a unique world that feels both dangerous and beautiful. In addition to a captivating visual style, the performances in Playdurizm allow us to fall even further into this glitchy fantasy world.
The film’s director Gem Deger stars as Demir and plays the part perfectly, exploring the innocence of this teenager caught in a challenging and violent fantasy world.
Deger’s performance highlight’s Demir’s inquisitive personality and innocence while navigating the complexities of desire and obsession.
Austin Chunn’s performance as Andrew highlights a unique time and style in film, bringing to mind the Cronenberg and De Palma films from which this film draws inspiration.
Conclusion
Playdurizm is a unique and surreal exploration of traumatic experiences following a complex queer character played wonderfully by Gem Deger, the film’s director. Playdurizm thrives in its performances, captivating visual style, and meta moments.
Playdurizm is available on blu-ray and dvd from Kino Lorber
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[Peter Kitsch Starring Olivia - Surnaturel]
#Peter Kitsch#Olivia#Surnaturel#futuristic#space station#y2k#video#found via newwavearch90's playlist#wipeout#r&b#inspiration#y2k france
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ronald ray gun
#ray gun#gothic#chic#ronald reagan#retro#futuristic#ray gun gothic#pun#puns#kitsch#atom punk#punk#ron#weapon#atom#phaser#50s#scifi#tesla#time travel
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