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2020.07.02 17:03 Porpo85 Free voyeur main page
I felt the need to talk about this because this one single character ruined the experience the game offered for me. No one else seems to talk about the many logical inconsistencies in his backstory, ingame character and his questline and that really bothers me.
He's a genius diplomat despite being delusional, unwise and a total arrogant cunt. Genius general despite never leaving his palace. Genius swordsman because he might as well be at this point. He has built up all this notoritery, won all of his wars, from his couch. The world salivates over him despite all his negative traits, if it sounds like I'm describing a Mary Sue then I very well might be.
He summoned demons to entertain himself, for whatever reason they considered him their "equal" and didn't kill him. He says the boredom that caused this was because he lacked challenge, and not because he is a spoiled brat. A succubus who owes the Shadow Prince attacks him, he manages to kill her despite being overpowered because "Source magic". There's a contradiction in this story. He states that he needed to use Source to summon demons. On the other hand, he killed the succubus with Source magic as well and he said he didn't know he had that power. The Shadow Prince later states that this is when they found out that he is a godwoken, which implies his first use of Source ever as the Shadow Prince was keeping an eye on him all the time.
To quote him:
"Miraculous what a Sourcerer can do with a little arcane lore."
followed up with:
"Something deep inside me welled up: a power I never knew I had."
He is exiled afterwards and despite many attempts on his life he survives in a hostile political climate where people would likely love to lynch him. The methods of slavery the lizard empire uses are blatantly cruel. He is pro-slavery. I sincerely doubt people who live under the fear of being enslaved by the empire he used to rule would be amused by his casual suggestions that they become enslaved to him.
When Act 2 starts, with almost every conversation with him, you will only get binary choices.
During the first meeting with the Red Princess, the only choices given to you are denying the event because you sense an ambush or allowing it. Denying it will result in the prince spitting on you and leaving despite the fact that your character is right about you getting ambushed regardless of which choice you choose. Consider the fact that he is a genius tactician, standing in a prime ambush spot, ready to sacrifice you and your party just to bang his destined lover. The thing is, even if you don't do this part of his questline because you know the outcome, he will still know Sadha's name later despite them never meeting, and he will be just as much in love with her as if you did the quest.
His character loses his composure and confidence if you are romancing him and you confront him about the way he treats you, or the fact that he's cheating on his lover with you or cheating on you with his lover. This is a love triangle, not polyamorous because in a poly relationship people live together as a family where everyone is loved. Sadha dislikes your character from the start. This indecisiveness ends with the relationship not having a closure, except if you let him ascend to godhood. He'll then tell you that he is intent on cheating on Sadha because "Gods have a rather large appetite". It is also implied that he is intent on bringing more people into the romance-pile.
To quote him:
"Remember all those dalliance filled myths... Yes... I think I'll be creating many a myth myself."
Sadha herself feels like she is manipulating him from the start. Many of her quotes suggest she's power hungry, and she is ready to send her own children to fight the gods. She is hellbent on this. I never thought I'd see a mother so ready to send their children to war, literal baby dragons. The Red Prince is not sure about her decision but YOU convince him about it quite easily.
To quote the only two INSANE choices given to you:
"Urge him to accept! Dragons are his destiny. Let him proudly show it!"
"Say these eggs should be destroyed! They're a danger to this world!"
Imagine telling a father and a mother that their children are dangerous and should be killed. Imagine saying that they should send their newborn babies to murder people. After this, the prince will mention that he will raise his children to be "wise", something that is hard to take seriously because of the events before. I'm saying it again, your character is going to weaponize children or be hellbent on murdering them. Your only two choices. People are okay with this, and Larian got away with this as well, I see no one ever mention this.
During his questline, you have to fight many assassins, including the Shadow Prince, his nemesis. He is completely dismissive about this. He even calls his arch-enemy a coward. Many of your choices about dialogue regarding assassins before the confrontation with the Shadow Prince end with either kissing his ass or being unreasonably hostile. I didn't see any pragmatic choices.
In my opinion, the Shadow Prince would have posed more of a threat to him if they make him even more competent and cunning. The notoritery the Red Prince built up could all be the doing of a very competent shadow government that recognized that he is not a competent ruler at the time, while also posing the danger of the revival of dragons. His entire life could have been a lie, which would probably end up changing his character as it's built entirely on his pride.
The glaring problem here however, is that he doesn't have anyone he considers an enemy, his ONLY real enemy is the player or the God King. It's a ludonarrative dissonance because while in gameplay you can beat him, in his story the game considers him to be way stronger than you. Conflicts in his story end up as a nuisance instead of something that develops/explores character or interesting topics.
As you can see here, many potential conflicts or character development possibilities are set up, they are left unused however. The Chekhov's Gun Principle dictates that false promises or irrelevant story elements should never come into play. If he is shown being able to introspect, then his character should develop more than simply "respecting your character". His character reached the level Ifan started from, it's nothing special. He never does anything out of selflessness for you, never sacrifices anything. The only gesture you get is a hug. Actions matter more than words.
People like him because of his sass, confidence and exotic race. This is why I refer to him as a conman. He lacks depth and his character desperately needs it. He feels artificial, like he's not a real person.
Player agency and narrator:
As I mentioned before, the entire world is salivating over him. The narrator himself describes how you feel about him, which should be entirely player choice. It all feels like he is the main character instead of the player character, who is the actual protagonist of the story. You are relegated to a spectator role, your only options most of the time are binary choices. No room for argument and debate, which would be great because of how preachy he is about power for example. He is dismissive if you try to go with the potentially argumentative choice given to you when it's a serious topic about him.
This is the worst romance story I've seen yet. I don't understand why it's even present in the game.
It starts off with voyeurism. You have to watch him have sex with the love of his life. He'll notice you of course and will grab you by your clothes and lift you up. You get to mention that his "little prince" is standing proud, while also getting the option to a jealousy confession. Any player who finds the choice of romance start insulting is justified feeling that way.
His romance scene has him talk about Sadha at it's start, the talk has no real closure as he dodges and shifts the responsibility right away. You get to bang him or not, binary choices again, you are not able to call him out on his behaviour. The choices given to you for the climax, compared to what any other origin character gets are minimal. You get to choose him to be gentle, rough or romantic. It's you deciding how he acts and not you acting. Other origin characters give you an option for a more active role compared to this, it's a nice thing since all the characters are playersexual, blank slates. Homosexual relationships however have a different psychology compared to heterosexual ones, topping and bottoming could be important and they could be hinted at. The problem is, if you let the player choose an active or passive role with one companion, then you should do it with all the other ones as well.
The rampant cuckoldry without any nuance to it makes it really, really bad. The fact that they are doubling down on it if he becomes a god feels like insanity. Along with sending his children to war or suggesting to kill them.
I wish the writers would treat the player with more respect. I've grown more and more depressed writing this because of how cheated I felt by the end when I analyzed this character completely. The only reason I decided to write this at all is because I noticed how strong the people's feelings are about The Last of Us 2 characters. The emotions I get from this game is similar to that. I was ready to connect to the game's world and it's characters, yet I was unable to.
After spending 150 hours, both completionist playthroughs I ended up disliking this game with passion. I was bored by the combat, which has been analyzed to hell with it's problems already. I felt disconnected from the world because it kept reminding me that it's a game. Gaining power for power's sake, cynicism everywhere, mass graves and tragedies all around and the game itself encouraging me to care more about killing people for XP.
DOS2 is essentially a combat centric game, similar to XCOM, pretending to be an RPG. They wish to go down the XCOM route as well, evidence to it is the Divinity: Fallen Heroes game that was put on hold because of Baldur's Gate 3. Dialogue, characters are a filler content in between combat encounters. This is why it feels suspicious to me when critics of this game on YouTube mostly end up describing and analyzing the combat and they just say superficial things about the writing. Without any examples or problems other than the tonal shifts.
There was an interview when Swen talked about how they listen to criticism, yet when he mentioned that people say that the writing isn't cohesive, he doesn't agree with it. He basically dodges the topic afterwards, talking about gameplay instead. If you are curious about it, the interview is a Baldur's Gate 3 interview with the Escapist on YouTube.
If you are concerned about the cuckoldry, I have to tell you it will return for Baldur's Gate 3, they already said so in an interview. It will have a cultural explanation at the very least. However, monogamy is the norm of that setting and Laezel would very well know that her culture is considered weird. That means most interactions she would do would be cautious.
They are also making a 300 page comic book about the origin characters. I imagine it will mess up the prince's backstory/ingame character inconsistencies even more. I honestly don't think he deserves an expanded backstory when his questline is flat and his character is static.
I wish this character got some justice.
If anyone here played Baldur's Gate 1-2, I think he had the potential to be as good as Viconia.
Larian can do better than this.
I anticipate the argument that I can simply not take him with me. That means however that I'm voluntarily cutting out a huge chunk of the content because it sucks. It's not a good argument. Especially because as I mentioned before, origin characters are the intended protagonists of the game.
Feel free to share your own opinions. I stand where I fall, we'll see how long I'm able to.
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2019.04.19 05:29 hentai_superstar Free voyeur main page
The origin of hentai (erotic manga and anime) has been attributed to drawings done by Buddhists monks on scrolls dating to the 12th Century, as identified by a number of specialists in literary/visual Japanese production, Brenner (2007) most recently. These scrolls depicted stories of animals mocking prominent figures of the clergy and nobility; as such, they can be considered parodies and political or religious critiques. A particularly interesting aspect of these scrolls is the use of space; they copied the outline of the calligraphy to represent movement and expression, both features fundamental in the evolution of Japanese illustrations present in contemporary manga and hentai.
The history of Japanese engravings of sexual scenes is steeped in tradition. In the 17[supth] Century and 18[supth] Century, erotic shunga engravings (a type of ukiyo-e illustration; prints engraved on wood) were produced, their peak in production occurring during the Edo period (17[supth]-18[supth] centuries). At that time, the images were usually used as sexual guides for the sons and daughters of families that could afford the scrolls. These illustrations were kept near to the couple's wedding furniture. Production of ukiyo-e was commercially based, dedicated and available to satisfy the demand for printed images in the face of a population en route to massification. Given the exotic aesthetic of this type of drawing, they continued to gain popularity in the West after the 19[supth] Century. The stylistic features present in these drawings are much more complex and evolved than those of the Buddhist scrolls; the sexually explicit images tend to exaggerate proportions, and the majority of them portray complete scenes, representing sexual acts as parts of the environment. This feature of spatiality allows the sexual scene to be understood within the intimacy of a space (in a bath, house, geisha lounge, etc.) and reduces the possibility of the drawing being interpreted as a vulgar illustration, thus, giving it more prestige as artwork (Some images, though a minority, are centered on the sex organs without providing an environment).
Towards the 20[supth] Century, the influence of Western traditions and aesthetics was reflected in Japanese cultural production. Through exposure to Western culture, the distinctive features of erotic Japanese prints (specifically Japanese facial features, intimate and detailed spaces, traditional gowns, and subtle lines of movement) changed the form that had been preserved for centuries. The drawings evolved their own style, clearly identifiable around the world as Japanese imagery.
This new style, a mixture of the increasing Western influence and Japanese tradition, produced drawings that moved away from the traditional stylistic: characters changed their physiognomy, exemplified by elongated bodies stylized according to the Western model and big eyes with a marked expression; urban spaces were depicted with an ambiguous geographical location, apt to be set anywhere in the world, either in the present or recent past. Another important change in the production of manga (and all its genres)(FN1) is the implementation of cinematographic techniques: panoramic scenes, close shots, and cuts from scene to scene that create the impression of continuity through different shots perspectives. Also different is the use of text in the images, similar to that in the North American comic, allowing for continuity in the plot and the sequence. In hentai, the explicitness of the drawings allows the story to continue (although it is actually rather short) and the text adds to the scene progression without clarifying anything more than what is evident to the reader.
Sharon Kinsella denies manga's roots in the 12[supth] Century Buddhist scrolls, claiming manga was born after World War II as a protest to the repression in and opening of Japan. She studies solely manga for adults,(FN2) whose production is, for the most part though not exclusively, limited to local consumption and is a significant development since the 1990s. Manga for adults deals with political, social, and cultural themes that come to the West and are inserted as a cultural innovation of "the other," however do not form part of an ideology or specific aesthetic (Kinsella, 2000). By recapturing characteristics of other manga genres, manga for adults is expanding. In contrast to this, anime and manga for children and adolescents is consumed massively in the West from the 1970s thanks to series such as Astroboy, Mazinger Z, or Candy-Candy or other series that became popular in the mid-1990s, such as Dragon Ball Z, and Sailor Moon. These series became notably more westernized over time and with the increase in consumers and their wide distribution in Europe, North America, and South America.
Hentai circulates "in an economy of mass culture where production and consumption plough fast and transmission and reception plough immediate" (Allison, 2000: 54); it is a phenomenon that expanded during the 20[supth] Century in an increasingly visual culture. The identifying features of manga, and hentai as one of its genres, are anchored in oriental and occidental imagery for their combination of fantasy and reality. Hentai is not designed to replace a reality, but to generate a fictionalized "alternative reality," though not completely fictitious. Although the features in the drawing are exaggerated or idealized, at the same time, they generate a new and specific aesthetic that alters real situations and recaptures iconographies recognized in both hemispheres of the planet, reaching a level of fantasy that generates a sensation of nearness and illusion in the consumer.
One of the characteristics tied to massive production is the sequence in which the products are produced. Referring specifically to mass consumption in pop culture, the novelty from one product to another is limited, almost to the point of non-existence, once the genre is established and accepted. In the case of hentai, fragmentation plays a fundamental role in plot continuity, creating the illusion of different perspectives of the same scene repeated again and again on a page (in the case of manga) or, in the case of anime, in a scene. The viewer receives more than one "version" of the same moment that leads up to the saturation, generating confusion. This sensation is amplified to reach a point of complicity with the consumer and adds an element of voyeurism to the object being consumed, not only because of the implicit complicity in the pornographic production, but because of the effect of penetration in each fragment of the image. Thus, any temporal coherence is lost; but the illusion of movement remains in spite of the fact that the drawing is static.
As previously mentioned, the presence of text in hentai helps to magnify the sexual act; the accompanying story diminishes, in the majority of the images, to exclamations and onomatopoeia. In this way, in hentai, every printed page works in relation to the fragmentation of movements and its power to amplify each as much as possible.
The reception of hentai images, printed or animated, does not differ from the act of reception in general. The human eye has the ability to establish patterns in the images it observes, allowing it to differentiate one thing from another, eliminating the ambiguity of the information received visually, and to "understand" the message. Nevertheless, sight is not the only tool the brain uses in the disambiguation of information; in other words, sight and the image that it perceives are crucial in determining the meaning, but in order for the meaning to be produced, the brain resorts to the memory to look for similarities and to find the most similar. The senses that gather additional information from the environment and complete the context that frames the image are awakened, and through the combination of the three means, the necessary patterns are generated from different sources to understand and allow for the information to obtain a complete meaning. The perception of fabricated images, that is to say, of images that are man-made and exposed through artificial means is much more difficult to process, since those images lack contextual information, and appear alone, their designs and forms isolated in a fixed space and without variations. In this process of disambiguation, the memory forms an important part in eliminating the possibilities of meaning; nevertheless, the nature of the content provokes excitement in the viewer. The sexual memory of the viewer is what disambiguates the confusion of the superimposed images and the saturated close-ups. The image is finally understood, but the mixed sensations of confusion and excitement are stored in the visual memory of the subject and erupt again with access to this material. The perception of the image and the meaning that is extracted from it is determined by the sensory load of the subject that observes it (Seward Barry, 1997:27).
Manga is a form of communication formed by a collection of simple codes, simple figures, and recurring techniques that are revealed, in the way that the impact on the subject is likewise conditioned by the sensations that the images are able to stimulate in them. The specific case of hentai stimulates, at the same time, a more ambiguous perception than non-sexual manga and a message that is clearer and more direct. That is to say, the drawing aesthetic typical of hentai has an impact on the viewer through the confusion that it provokes and the saturation of the page. Likewise, the saturated fragmentation delays the understanding of the image; nevertheless, the nature of its content provokes excitement in the subject. The sexual memory of the subject is what helps to disambiguate the confusion of superimposed images and saturated close-ups. The image is finally understood, but the mixed sensations of confusion and excitement are stored in the visual memory of the subject and erupts again with access to this material.
The presence of forms in hentai is steady, with the same forms appearing repeatedly and being re-used with small modifications among them. The configuration of the prominent figures changes very little in terms of their physical characteristics; the face, especially, is almost identical between men and women. This sexual ambiguity creates a new aspect of confusion, although only momentarily, as the prominent figures adopt their role in the story and the shape of the drawings direct the attention towards the forms of the bodies and the sexual act; the image becomes less ambiguous and it becomes obvious what is happening in the image, as well as the role and gender of each character.
The fragmentation of the printed page leads the viewer's focus towards the genitalia and the sexual act itself. The lines change in intensity and as the action approaches a climax, the cuts and "focuses" function as close-ups, centering their gaze on an expression, movement, or orgasm. In this way, there arises an excessive accumulation of fragmented images and opposing perspectives that create the illusion of continuity and movement. Besides zoom, other cinematographic techniques are imitated in hentai, specially the low-angle shot, that makes the character seem threatening and powerful and is usually used in hentai for scenes of sexual domination. In these scenes, the gender of the character may change according to the plot, but the perspective remains fixed in order to have an impact on the spectator and to establish the roles in such a way that it becomes obvious which is the dominant character in the plot. On the contrary, the high-angle shot gives the opposite role to the character: weak and dominated. Hentai plays with both perspectives to determine the role of its prominent figures and since scenes of sexual domination are very frequent, these cinematographic techniques are used repeatedly.
The light and the colors influence the perception of the image. Though hentai-manga is, for the most part, in black and white (except for the cover and the anime), the use of lights and shadows emphasizes the character's expressions since they highlight the face, and with it, expressions showing pain, pleasure, fear, and desire (as the most frequent in hentai).
Together with the drawing techniques, the writing using Japanese characters intensifies the sensation of uncertainty to the Western reader; in not being familiar with the language, the visual impact that is created between text and image is amplified. Despite this, comprehension of what is happening is not impossible; the confusion forms a part of the reception of these aesthetics that emerge from a cultural shock and a lack of comprehension of a seemingly foreign culture, but immersed in and adopted by the West. In the production of hentai with translations, this impression of confusion changes; the text becomes added information and reduces uncertainty. The saturation of the image transforms the impact as the eye tries to make sense of the image, looking for any meaning falsely immersed in the text; nevertheless (as long as it is an accurate translation and not an adaptation), this information also provokes the amplification of the fragmented images and, though the effect of confusion is minor, it does not get lost completely. The level of depth in the scene reaches its maximum in hentai. The fact that the production is based, essentially, on sexual scenes, the production plays a double role; on one hand, its distribution is increasingly massive, but on the other hand, its consumption tends to the individual. Given its pornographic characteristics, the diffusion of this genre tends to be veiled; or, as it occurs in the West, it is consumed under the pretext of "erotic art" -- foreign and distant.
The attention to detail in hentai allows for the limits of the drawing to surpass those of the scenes, not only to close-ups of genitalia, but to perspectives impossible to reality -- they are the drawings of how the sexual act "would look" from inside the vagina or other corporal cavities. The flexibility of the drawing enables the possibility to view the invisible. This generates a new, amplified reception; the creation of new myths and fetishes that expand and evolve with the sexual interaction between supernatural, fictitious, or monstrous beings and humans. Hentai evolves into a space in which the beautiful and the monstrous co-exist; the possible and the forbidden, the detail or the sequence. Therefore, this medium converts into, for Japan, its society and the system that shapes it into one of the tools that complex cultural systems look for in order to define themselves; in agreement with Suárez: "any cultural complex system is defined according to its capacity and forms used to represent the information it needs to process in order to adapt" (Suarez, 2007:41). This adaptation of hentai to the Western culture answers to the socio-cultural conditions of a globalized world, as the plots deal with latent "socially problematic" themes that have arisen, with greater frequency, since the 1990s. These themes have also allowed for the creation of subgenres within hentai, as explicit social and sexual behaviors with a relative immunity that allows for a genre with the tendency to fictionalize reality, such as homosexuality, violence, revenge, and the sexualized reconstruction of religious iconography (mainly Catholic and, less frequently, Buddhist in some precepts) (Aoyama, 2006:55). This confrontation between seemingly opposite conceptions of the world is resolved through hentai and the stylistic features that are particular to it, not only to stimulate uncertainty and voyeurism, but also to create ambiguity by means of the clash between different ideological conceptions that are saturated, feature superimposed fragments, and are apparently opposite.
The aesthetics created by manga, through all its genres, spread to the West and became an exportable product within a globalized world -- a mixture of the foreign and familiar, the "strange but understandable." Being a production intimately tied to the 20[supth] Century, it is understandable that it develops in the frame of a world of expanded cultural exchange and globalization.
Nevertheless, Japanese illustration (manga or anime) is not the first aesthetic production to be extended globally, nor is it completely original and innovative. An important part of this work is to indicate the aesthetic similarities that hentai, especially, has with certain prevailing forms in Baroque style. Beyond the emergence of both aesthetics inside a globalized world, the features that both present in their construction lead the spectator towards a sensation of confusion and loss; they saturate the senses through the image and imprison them through the excess of condensed information, be it through a painting (in the case of the Baroque) or on a page (in case of hentai).
In the case of the Baroque,(FN3) a determined historical period is often talked about, as well as a style with its own forms and representations. Being a cultural phenomenon, it is possible to propose that the Baroque is not born from nothing, but emerges from the break with previous aesthetics and, therefore, it is possible that it arises again in periods subsequent to the 17[supth] Century. A style is created by formal elements, which "have a value of indication, that compose its repertoire, its vocabulary... a series of relations, a syntax" (Focillon, 1983:15); a style is made up of forms that define and distinguish it from another. Every style has different stages in its creation, moving from its emergence in a specific system to its degeneracy. The Baroque or "baroqueness" as a style does not escape this categorization, as the Baroque style has often been viewed as the degeneracy of the Renaissance style, though it also ultimately suffers this process.
With the extension of explored territory, communication between its different parts did not hold back. In this way, the Baroque emerges in different cultures and places of the world with temporal differences (though not excessively distant) between them, that remain present beyond the historical period in which they are situated. In every place in which Baroque characteristics have emerged, this phenomenon creates its own iconographies, in different ways, either as a variation of forms or as a variation of meanings in the same form.
The prevailing forms in the Baroque emerge from different times and places (Neobarroco, Ultrabaroque). These forms adapt and modernize themselves without preventing similar effects in the recipient. The Baroque provides, visually, examples of forms with movements, a saturation of signs and outlines that create an excessive illusion that inevitably disconcerts the viewer who is faced with the works or who lives in this environment. From the movement frozen in images, a tension is deduced between what is simulated reality and iconography. The spectator faces ambiguous images in which the human body encloses the totality of the work's meaning and of the message that it conveys.
Images of bodies in ecstasy and martyrdoms are common in the historical Baroque; the viewers find themselves surrounded with images that represent the ecstasy of a saint, whereas the expression and the position of the body can also be read as a sexual climax with the same validity that a doctrine is read. Nevertheless, this reading opposes the significance of the religious scene. In agreement with de la Flor, "The great art of the Counter-reformation, in wanting to produce holiness, reproduces an ecstatic tension of a free nature and, let's say, painfully sexualized... impudent meats" (R. de la Flor, 2002:368).
The aesthetic of the Baroque is closely related to visual saturation, repetition, and allegories; the mixture which leads the viewer not only to confusion, but also to the terror of confronting it (Benjamin, 2006). Angela Ndalianis (2004) finds this type of terror in Hollywood productions; however, for the public of the 20[supth] Century, the monumentality of set designs and the novelty of special effects is a daily thing, therefore, the new spectator enters the game of the illusion, but before being conscious of its falsehood. No more is it the confusion of the being (of which de la Flor speaks) nor Benjamin's disenchantment; it is an "air of the time" that invades new cultural phenomena of globalized societies, since "many important phenomena of our time are marked by a specific internal 'form' that can evoke the Baroque" (Calabrese, 1989:31). The 20[supth] Century becomes a serial aesthetic, an identical and massive aesthetic repeated by thousands; manga, anime, and hentai as its more representative productions, are produced inside of this dynamic which, inevitably, helps to define the style and determines the elements that reemerge from past aesthetics and styles.
The hentai is produced in a massive form and inside a global culture of consumption, the detail of the mass production spreads towards the conception in the structure of the manga; it is to say, we are not speaking about limited productions; we are speaking about massive productions with a trend to form series with similar characteristics and a conductive thread that relates it to the reade consumer. This involvement or interest could be produced for the subject matter, the style, the characters, and figures, etc.
Hentai series are published monthly, mainly, and maintain relation and coherence between its prominent figures but not in the plots. It is the variety of situations in which one can find the same characters that keeps the reader hooked on the collection. Another common characteristic of the sequels is that they are not always done by the same artist. Generally, the different volumes of the series are done by teams of artists, which also explains the variety of plots, since every artist specializes in themes and creates the volume that best fits the area they dominate.
Unlike in the case of the series, the production of specific volumes is not characterized by a continuity and repetition of principal characters, though they form part of the publishing house's library.(FN4) However, not joining in this continuity in the production allows the author some variation in the forms, but without digressing too much, as the abandoning of basic forms and fundamental characteristics allows the product to move away from the "traditional" hentai model and allows it to transform into something different. Some of the artists who produce under the same aesthetic and subject matter are Rio Yanagawa (2002), Jamin G (2002), Shin Akane (2002), Hitoshi Niko (2000), Kou Nishikawa (2006), Hodumi Kaour (2007), and Makibe Kataru (2003). Though not all of them orientate their production towards the continuity of characters or plots, for the most part, they produce aesthetics in styles that are recognizably their own. In the majority of their works, each one of them produces a new edition of the same sequence that follows a character, but in "specialized" situations within the genre and style that the artist develops.
Most hentai authors work in the same style; some of them create forms that are innovative, but that differ little in subject matter. Hajime Tahira, in the series Dragon Blood (1996-2001), creates a seemingly consecutive series through the seriality of the publications, but with no relation between their plots. Every volume has a specific topic and a principal protagonist. As Tahira and his team have defined a style nearly their own, and have created a character through each of the protagonists, the style of the drawings allows for variation within the traditional scenes of this genre. The sensation of movement inside the images is fragmented and halted at the same time, creating a sensation of frozen images. This sensation is amplified by the great quantity of close-ups of facial expressions, genitals, fluids, and internal perspectives.
Another of the series that has achieved widespread diffusion is Dead or Alive (2006-2008); it follows the same structure, but nevertheless, includes a major variety of sub-genres inside each volume. The general trend of the outline in the drawings is orientated towards the representation of hermaphrodites with an entirely feminine appearance, but with genitalia of both sexes. The ambiguity that these images produce does not limit itself to sexual orientation, but allows for spatial and temporal ambiguity. Through the attempt to create fictitious realities, the scenes tend to combine with "realities," known and identifiable spaces like schools, houses, spaceships, etc. Places and spaces, together with their scenery, have become ordinary to the spectator, but within this familiarity, they transcend all boundaries towards a "familiar" fantasy.
On the other hand, Kenji Yamamoto (2005) resorts more to the "portrait" and frozen scenes. He exaggerates and details their forms, whereas the sensation of movement is tied to scenes that are violent and not exclusively sexual. Yamamoto's drawings emulate Hokusai's work at the beginning of the 19lh Century and traditional ukiyo-e prints, so in both cases, the exaggeration in the expression and in the proportions are some of the style's distinguishing characteristics. That is to say, it situates itself within the manga aesthetic of the 20lh Century, resorting to the tradition of Japanese drawing and synthesizing this mixture in a unique style with features of its own. All hentai productions develop within the same aesthetic; the forms are variable but recognizable within the general aesthetic of non-erotic manga. The seriality and fragmentation, the use of lighting and cinematographic techniques coincide with the aesthetic of impact and Baroque confusion; the movement, the saturation, and the ambiguity in the image that generate the same sensations in the spectator, as perception of the image answers not only to the object that is seen, but appeals to the memory, imagination, and previous knowledge awakened by the outlines to finally make sense of and create order in the image.
CONCLUSIONS Hentai, as part of the aesthetic of the "current age," is created under the triple standard of continuity, fragmentation, and mass production. It is filled with seemingly foreign appearances to the aesthetics particular to every social system. The emergence of fragmentation in art allows for visual games that generate the same temporal-spatial confusion as Pozzo's roof (St. Ignatius Church, 1685-1694) (Fig. 7), though it is easier to separate oneself from it. If, as Calabrese says, "any baroque phenomenon comes from degeneracy (it is to say, destabilization) of an organized system, whereas all classic phenomena continue preservation of the system against the smallest of disturbances" (Calabrese, 1989:207, my translation); then, the "contemporary age" is a system in degeneracy. Nevertheless, the possibility of bringing together cultures, traditions, and, especially styles, allow it to be said that the new productions of popular culture have notably Baroque features. In case of hentai, the characteristics that have distinguished themselves as Baroque are present: in the saturation of the image, representation of movement, fragmentation with the purpose of continuity, that generate confusion in the spectator. Other than presenting a lack of, or vagueness of, time, it can be drawn at any moment; adding to it a lack of space; whether because the scene fails to center the spectator's attention on the fragment or because it truly lacks environment, because the image has no depth or because the same scene can situate itself in an undefined place (sometimes, so common that it loses relevancy to the spectator).
Artistic production can only arise from cultural systems, which create themselves according to time periods and tastes, since "the whole of a culture comes from an unconscious individual and group. Through the study of examples from different orders, in order to demonstrate that a 'relapse' of underlying structures is produced" (Calabrese, 1989:26, my translation). Fashion or the tastes of a period are cyclical features that appear under the socio-cultural conditions of every moment; this appearance is not identical but suffers transformations that allow it to emerge as something different: stylistic, cultural, and historically. This is the ability that culture has to adjust; in not being able to deny its history, it can neither start from zero nor be born as something isolated.
Social systems and their cultural production are maintained and evolve in the same way that they adapt and develop; it is for these characteristics that, through refurbished features, we speak of a Baroque, a Neobaroque, an Ultrabaroque, etc. These new names facilitate the justification of the existence of similar forms within different periods, while at the same time, imply that there lie differences in this repetition. Therefore, the style is a "new" property that emerges from culture through time.
In this way, each society's culture arises from its own identity features: the history of that society (evolution in time), its social, political, and economic conflicts, the environment in which it is formed, the relation that it establishes with other societies and its own sub-cultures that coexist within it. It is impossible to achieve a total acculturation, as features of the original culture will always remain since it is not only the joining of two cultures, but the emergence of new cultures from those that previously existed in the same environment. This cultural emergence manifests itself through a series of new forms, styles, and tastes exposed in the creation and production of cultural "objects." The Baroque or "baroqueness" (as a stylistic form with its own particular features and variables) can manifest themselves time and time again in different cultures.
Therefore, considering "Baroqueness" as an emergent property inside a cultural system and bearing in mind that, presently, communication develops in a global way, it proves to be increasingly difficult to conceive the idea of isolated communities. With hentai, a new style emerges as a synthesis of different cultures. The new drawings are no longer the traditional oriental prints in which the characters maintain their oriental features or where the scenes are confined to interior spaces, in the privacy of a particular home, or in the intimacy of a center of baths. They are neither paintings of religious ecstasy nor martyrdoms. The outline creates characters with a Westernized physiognomy inside environments with identifiably Oriental or Western spaces, since the structure of new cities allows one to situate the environment without the need to establish a specific location; it can be in any city of the world, in a present time or from a recent past. However, the originality of the Japanese outlines is preserved; some stylized gowns do not lose their form as traditional suits or generate a new stereotype of "Japaneseness" in a globalized world, while at the same time, movement, saturation, fragments frozen in moments of uncertainty, ambiguous meaning and the Baroque are found in the outlines of the most exaggerated hentai images.
ADDED MATERIAL Miriam Peña-Pimentel is enrolled in the Ph.D. in Hispanic Studies program at The University of Western Ontario. She is part of The Hispanic Baroque Project, an international research group studying the Baroque's cultural complexity and its manifestations in the Hispanic World. She has presented papers in Germany and Mexico; her doctoral dissertation will use topic map analysis to study Calderon's theatrical production.
submitted by hentai_superstar to copypasta [link] [comments]
2018.12.10 02:06 subreddit_stats Subreddit Stats: UBC top posts from 2017-12-08 to 2018-12-07 02:45 PDT
Period: 363.96 days
|Rate (per day)||2.75||54.92|
- 2956 points, 29 submissions: eyqs
- That time of the year again (307 points, 2 comments)
- spooky decoration (242 points, 4 comments)
- Irving after exams (241 points, 11 comments)
- Today's delivery of Dropbikes (165 points, 18 comments)
- When you bomb your midterms (159 points, 12 comments)
- Squirrel trapped in ICICS basement (141 points, 19 comments)
- How the ICICS squirrel got in (131 points, 11 comments)
- What are they filming today? Lots of interesting clubs on Main Mall (129 points, 13 comments)
- Horticulture building at night (98 points, 10 comments)
- Hole in the shadow (93 points, 27 comments)
- 1796 points, 11 submissions: dawushu
- So many casualties from 8 AM MATH 100 sections (246 points, 9 comments)
- Every single time I take an exam (215 points, 7 comments)
- The reason group projects are an undiscovered circle of hell (213 points, 27 comments)
- "The website is GROUPS DOT CHEM DOT UBC DOT CA SLASH.." (207 points, 6 comments)
- "if I just write down things from the formula sheet, surely that will count for something, right?" (203 points, 7 comments)
- "Rich Chinese kids in North America" starter pack (182 points, 37 comments)
- I want to be free of this pain (142 points, 11 comments)
- Some motivation for everyone who needs some as we head into the last few days of finals (x-post /BPT) (134 points, 21 comments)
- Everyone in first year CPSC courses (115 points, 7 comments)
- Looking forward to doing this at the end of April (111 points, 1 comment)
- 1693 points, 9 submissions: darpmaster
- A reading break last week would have been pretty nice (355 points, 12 comments)
- I was betrayed (317 points, 31 comments)
- 😤😤 (232 points, 50 comments)
- "Consultation" (169 points, 8 comments)
- The wonders of a captive market (168 points, 8 comments)
- Three times in one week (149 points, 5 comments)
- More is always better, right? (146 points, 6 comments)
- Some things just can't be said (107 points, 13 comments)
- facts (50 points, 9 comments)
- 1436 points, 15 submissions: ColonParentheses
- I printed out that thread about the Midnight Revver around Brock and delivered it to his car, along with a note and a nice meme (231 points, 36 comments)
- when construction finishes on ur big shadow splooge and it's just as unpopular as everyone said it would be (162 points, 30 comments)
- Fountain is running (136 points, 19 comments)
- a different perspective of UBC: from the top of Cypress Mountain earlier today (126 points, 0 comments)
- new Student Life Centre looking very Kubricky (94 points, 17 comments)
- timelapse of stormy clouds at sunset over english bay last night (85 points, 5 comments)
- Getting Out Of Class, East Mall 3:50pm-4:03pm 09-Feb-18 (83 points, 6 comments)
- [timelapse] the fog beneath the north shore mountains (76 points, 1 comment)
- Mount Wrottesley came out to say hello to the north end of campus earlier today (74 points, 6 comments)
- that feeling of finally getting all my dream courses registered on the first try after suffering through 3 years of waitlists and grovelling to profs! hang in there, underclassmates, trust me it gets better :) (68 points, 15 comments)
- 1382 points, 26 submissions: ubyssey
- One Year Later: Despite a shiny new policy, sexual assault survivors do not know where to turn for help at UBC. A three-part feature series from The Ubyssey. (104 points, 18 comments)
- Following public outcry, AMS reverses decision to cut SASC’s support services (89 points, 16 comments)
- Uncle Fatih’s to replace Joe Pizza (88 points, 17 comments)
- Body found near Wreck Beach (83 points, 0 comments)
- Update to voyeur incident (77 points, 0 comments)
- AMS opposes all proposed tuition and fee increases by UBC (76 points, 35 comments)
- U-Pass price freezes at $41 until end of 2019 (70 points, 9 comments)
- UBC supports rapid transit expansion to campus (56 points, 7 comments)
- AMS soft-serves Qoola $100,000 lawsuit (55 points, 20 comments)
- New updates regarding the RCMP’s search for “suspicious male” (54 points, 12 comments)
- 1225 points, 16 submissions: marktmaclean
- A Failed Netlfix pitch: "MATH Course Registration: Add/Drop Deadline Looming" (244 points, 17 comments)
- MATH course Midterms and Academic Misconduct (219 points, 37 comments)
- UBC Mathematics alumnus Robert Langlands wins 2018 Abel Prize. (125 points, 0 comments)
- New MATH courses. (82 points, 45 comments)
- More completely boring MATH registration stuff. (72 points, 7 comments)
- Some MATH registration arcana. (65 points, 5 comments)
- MATH registration update. (58 points, 4 comments)
- THE most boring MATH course registration update ever. (55 points, 30 comments)
- December 28 MATH course registration status. (47 points, 14 comments)
- Dog Days of Summer MATH Registration Update (47 points, 2 comments)
- 1186 points, 20 submissions: okaysee206
- Public art that we need, w/o costing $350,000 for one gray tree (197 points, 17 comments)
- Long time no see! (131 points, 6 comments)
- The Shadow x Webwork Green (87 points, 9 comments)
- [Transit PSA] The 43 now runs until 10 p.m. at night! - and more service changes re-cap (84 points, 7 comments)
- [Transit PSA] Easter Weekend (66 points, 2 comments)
- To the grads who think they're out of here (61 points, 9 comments)
- [More Transit PSA] 480 moves stop at UBC Exchange, 44 has fewer stops in Downtown (60 points, 7 comments)
- This may be a Piazza record that won't be broken by my other classes (53 points, 15 comments)
- [Transit PSA] Holiday Changes Starting Dec 18 (Mon); Winter Service Changes Starting Jan 1 (50 points, 4 comments)
- [Transit PSA] Happy Midterm Times?! (45 points, 2 comments)
- 1109 points, 16 submissions: Kinost
- PSA: You may request a stop (between stops) on the majority of bus routes from 9pm to 5am. (157 points, 11 comments)
- PSA: Don't take unpaid internships. (121 points, 59 comments)
- Google Street View is at UBC (116 points, 14 comments)
- What are the point of these chairs at the Bookstore Starbucks? (102 points, 14 comments)
- To those who feel overwhelmed: You're not a failure. (65 points, 11 comments)
- How do you deal with people that keep talking in lectures? (62 points, 29 comments)
- Poor grades tied to class times that don’t match our biological clocks (59 points, 18 comments)
- LPT: Don't pay for membership at Clubs Day (58 points, 9 comments)
- PSA: There's a free online service, called WriteAway, to get feedback on your next academic paper, for students at public BC schools. (58 points, 5 comments)
- What is the equivalent of "trust the natural recursion" in other majors and programs? (58 points, 44 comments)
- 1030 points, 12 submissions: bekibo
- This fateful morning in MCLD exactly 1 year ago (168 points, 14 comments)
- Students walk on road to protest constructions at UBC /s (146 points, 9 comments)
- Weather was so nice yesterday, so I decided to go to Porteau Cove with the UBC Astronomy Club. (122 points, 8 comments)
- Free* profile picture head-shots and portraits (90 points, 1 comment)
- At least they tried to fix it (84 points, 16 comments)
- The UBC LGBT art installation looks like a German flag* (80 points, 13 comments)
- Former SUS President voices up about issues with Undergraduate Student Societies (78 points, 69 comments)
- The ECESS election has a new VP position with 2 plush dog candidates (78 points, 8 comments)
- Huge thanks to the driver and student on line 70 who returned me my wallet and keys! (63 points, 3 comments)
- I'm running for EUS president and I want to fix the inequality in department club funding! (49 points, 23 comments)
- 998 points, 10 submissions: Jontolo
- This has to be one of my favourite UBC timelines (256 points, 5 comments)
- Hebb Lecture Seating (157 points, 18 comments)
- Merry Christmas everyone! (115 points, 3 comments)
- UBC adds Musqueam language to street signs on campus (101 points, 25 comments)
- UBC Plans, 1925 (87 points, 12 comments)
- UBC Professor Ratings on Rate my Prof (79 points, 36 comments)
- Ono on UBC Admissions (75 points, 43 comments)
- UBC Electric Car, 1977 (53 points, 3 comments)
- Students call on UBC to cancel Ben Shapiro talk (43 points, 130 comments)
- What advice to do you have for 1st year students that could go into an UBC 1st year FAQ? (32 points, 48 comments)
- 941 points, 7 submissions: neilrp
- Wholesome grandma looks for grandson on UBC 2020 page (637 points, 14 comments)
- We've been infiltrated! (75 points, 10 comments)
- AUS proposes an increase of student fees from $13 to $25 at latest council meeting (62 points, 26 comments)
- Can poor design be counteracted by large signage? (54 points, 26 comments)
- If this policy passes tomorrow, you could be banned from AMS property for skateboarding, napping, or not wearing shoes (48 points, 28 comments)
- [u/neilrp investigates] Help me find inside secrets about UBC! (35 points, 25 comments)
- TIL the Thunderbirds logo without eyebrows is 10th on Google Images when you search "UBC Thunderbirds" (30 points, 3 comments)
- 806 points, 7 submissions: elanonelp
- UBC Media Guide [OC] (188 points, 14 comments)
- I will vote for whichever candidate promises to eradicate Club Crawl (134 points, 11 comments)
- The UBC Website (120 points, 15 comments)
- Me walking around UBC during the summer (109 points, 3 comments)
- First Week Bingo (108 points, 9 comments)
- Dear UBC: How can I make your lives better? (86 points, 52 comments)
- Not the hero we need, but the hero we deserve [BANNER CONTEST] (61 points, 3 comments)
- 785 points, 9 submissions: ajklwetfhghbalke
- I got a little... carried away with the banner submission (251 points, 29 comments)
- Every time after each final :( (200 points, 13 comments)
- APSC 100 - Dr. Pete's 6 personalities (71 points, 9 comments)
- A good excuse for a lack of budget (60 points, 12 comments)
- The ESC Eatery now has coffee again!!!! (50 points, 9 comments)
- In retrospect (43 points, 0 comments)
- THE ESC EATERY IS OFFICIALLY OPEN (starting Monday Oct 15) (42 points, 18 comments)
- Anyone want a free small pizza from Dominos? (37 points, 10 comments)
- THE ESC EATERY NOW HAS ROAST BEEF AND VEGGIE SANDWICHES (31 points, 20 comments)
- 777 points, 14 submissions: YOUBESEENUMBA1
- That's a rather unfortunate choice of poster color... (105 points, 21 comments)
- We've reached the peak (101 points, 11 comments)
- Wiley WTF (93 points, 47 comments)
- According to Linus, UBC's main library (which? idk) uses student phone location data to regulate air-con distribution. Wtf thats so cool. (62 points, 14 comments)
- Sauder Timmies takes gift cards now? When did this become a thing. (58 points, 11 comments)
- UBC Timmies Price Difference Part 2 (w/ receipts this time) (55 points, 19 comments)
- Guess Coco was running on Valve time (45 points, 9 comments)
- Xpost from Canada, Saudi students can finish their degrees (45 points, 5 comments)
- Frogs by the Rose Garden/University Centre building? (44 points, 11 comments)
- The real Vancouver =~= (44 points, 6 comments)
- 766 points, 7 submissions: fsxaircanada01
- A photo of Wreck Beach I took a few days ago (153 points, 2 comments)
- snow_week_ubc.bmp (141 points, 5 comments)
- Start of a new term starter pack (126 points, 15 comments)
- How to leave the sub to how to leave the sub to how to leave the sub to how to leave the sub to how to leave the sub to how to leave the sub to how to leave the sub to how to leave the sub to how to leave the sub to how to leave the sub to how to leave the sub to how to leave the sub (111 points, 9 comments)
- Today's fog is denser and things are stranger (85 points, 12 comments)
- ubc_october.jpg (79 points, 12 comments)
- The Fountain and The Flag and The Cairn (71 points, 2 comments)
- 653 points, 9 submissions: Justausername1234
- Congratulations to our friends at UWaterloo, and to Dr. Strickland in particular, for this amazing achievement! (169 points, 0 comments)
- UBC found guilty beyond a reasonable trout for four Federal Fisheries Act violations (144 points, 6 comments)
- Cannabis is now legal in Canada. Here's what you should remember. (82 points, 13 comments)
- Opening of Norm Theatre delayed after $7,300 worth of gear stolen during renovations (73 points, 13 comments)
- u/kinost, when subreddit usership increases 50%, but census responses are down 50%: (55 points, 7 comments)
- PM Trudeau announces funding for new medical isotope research facility at TRIUMF (41 points, 6 comments)
- Open letter to u/DragosGhioca. (33 points, 5 comments)
- Really, PVRA? Making the Poppy part of sock wars on the centennial of the Armistice? (28 points, 25 comments)
- UBC Senate to pass mandatory syllabus policy for fall 2019 (28 points, 9 comments)
- 645 points, 3 submissions: j0nchan
- 619 points, 6 submissions: boomerandzapper
- Pre Final vs. Post Final (260 points, 1 comment)
- Is our sign the next gen Cairn? (123 points, 17 comments)
- PSA: Free $25 From Save On Foods too! (74 points, 10 comments)
- TIL: There was a successful cookie place in the SUB called Duke's Cookies which was not given a lease renewal so the AMS could open Blue Chip. (62 points, 8 comments)
- CPSC 213 Final (55 points, 21 comments)
- Fun Fact: The Nest was built by 'Bird' Construction (45 points, 5 comments)
- 611 points, 5 submissions: Rakya-Senpai
- 524 points, 3 submissions: cokameth
- 523 points, 5 submissions: rythian_
- 522 points, 6 submissions: Asiandeathgod
- Profs responding to 100-word, well-composed, student emails be like... (184 points, 16 comments)
- Shark spotted running rampage in the fountain and in the aquatic centre (they didn't let him swim in the pool tho :( ) (123 points, 9 comments)
- 🤔🤔🤔🤔🤔🤔🤔🤔🤔🤔🤔🤔 (69 points, 7 comments)
- Math 105 prof: "As you all found out on the midterm..." (55 points, 10 comments)
- Massive Shoutout to the Asian Department (53 points, 16 comments)
- Completed CPSC 121 Ass4 at 4am, then I allowed my salt to flow out. (38 points, 13 comments)
- 520 points, 3 submissions: chunkytofu157
- 517 points, 3 submissions: brutusdidnothinwrong
- 474 points, 4 submissions: blueskyabove12
- Kinost (2224 points, 208 comments)
- Just-a-Prof (1583 points, 168 comments)
- lastlivezz (1566 points, 198 comments)
- PsychoRecycled (1565 points, 270 comments)
- Kyrias (1308 points, 57 comments)
- eyqs (1210 points, 85 comments)
- be0wulf (1204 points, 64 comments)
- boomerandzapper (1119 points, 98 comments)
- iteration_with_stack (1060 points, 103 comments)
- LunaticRenewed (998 points, 72 comments)
- chengt1 (995 points, 84 comments)
- bekibo (951 points, 87 comments)
- Jontolo (946 points, 61 comments)
- OsmanTheMan (942 points, 55 comments)
- trainer135 (933 points, 71 comments)
- Justausername1234 (915 points, 91 comments)
- okaysee206 (912 points, 125 comments)
- geezer_pleezer (871 points, 68 comments)
- marktmaclean (861 points, 99 comments)
- chipotledaily (858 points, 76 comments)
- ajklwetfhghbalke (857 points, 90 comments)
- YOUBESEENUMBA1 (847 points, 66 comments)
- ubcengcoopthrowaway (805 points, 47 comments)
- lighghtup (790 points, 51 comments)
- CyberneticTitan (749 points, 66 comments)
- Wholesome grandma looks for grandson on UBC 2020 page by neilrp (637 points, 14 comments)
- Math profs are evolving by master9878 (419 points, 7 comments)
- some special cards for that special someone by hamboozle (366 points, 11 comments)
- 8 am class by mastermindzeus (359 points, 18 comments)
- A reading break last week would have been pretty nice by darpmaster (355 points, 12 comments)
- Hope everyones being as productive as I am by StrawburryMilsche (344 points, 25 comments)
- I feel like this applies to a lot of people by sunsetcity- (327 points, 32 comments)
- Important safety PSA by rosegoldmacbook (325 points, 24 comments)
- Midterms around the corner? Use promo code “NETFLIX” to get 50% off your grades by iheartsatan666 (322 points, 11 comments)
- I was betrayed by darpmaster (317 points, 31 comments)
- 296 points: Kyrias's comment in Attractive Math Professor
- 228 points: lost_empath's comment in THE AMS IS SHUTTING DOWN THE SEXUAL ASSAULT SUPPORT CENTRE
- 225 points: LunaticRenewed's comment in Storytime Update: How to hit on lecture crush
- 218 points: fakenamebobcarter's comment in UBC announces support of Skytrain to UBC (ready as early as 2028), approves funding for extension to Arbutus (in service by 2025)
- 206 points: C63sflex's comment in Wow we have great professors
- 180 points: irmovl's comment in RIP my fellow MATH 317 classmates
- 162 points: cokameth's comment in Typical Asian international student starterpack
- 162 points: wolfsbanelight33's comment in PSA: It’s your responsibility to be prepared for an Earthquake. UBC won’t save you.
- 154 points: oopscyabuddy's comment in MATH course Midterms and Academic Misconduct
- 153 points: Midnightedge's comment in Why is Sauder so warm?
Generated with BBoe's Subreddit Statssubmitted by subreddit_stats to subreddit_stats [link] [comments]
2017.09.14 07:05 ubcmanifesto Free voyeur main page
A few notes before you begin:
(1) Wendy McElroy, the feminist rape survivor mentioned in the UBC Manifesto, has put a copy of the Manifesto on her site. I highly encourage you to listen to her talk at Brown University on her experiences and the rape culture (also available in the Manifesto); it's very powerful.
Wendy McElroy at Brown University, talk on Rape Culture https://www.youtube.com/watch?v=v3_ty5jKkX0
This 'rape culture letter' to President Santa J. Ono has also been posted (not by me!) on ifeminists.com, edited by the same feminist rape survivor, Wendy McElroy:
This rape culture letter has also been posted by Wendy on her personal site:
Here is more about Wendy McElroy from Wikipedia:
(2) I am convinced I represent the truly progressive voice on this issue; unless we can have honest, comprehensive, research-based discussions of the causes of rape/sexual assault, then I don't think we can comprehensively and progressively solve the problem. I want UBC students, including my sister, to be safe. (3) Many people, including many women, were initially apparently shocked when I was collecting signatures that I was critiquing the common form of the rape culture narrative. However, once I had explained myself and was understood, the great majority signed my nomination forms. I needed 50 signatures total; I received over 100 signatures in one day. The great majority of people I approached in person ended up signing to nominate me.
As promised in: https://www.reddit.com/UBC/comments/6zrvhx/reddit_reconciliation_franz_kurtzke_for_vp/
This letter is long, but it’s significant too. Catch you next on the 15th (tomorrow), with the original Viewpoint Diversity Letter, also to President Ono.
*** For now, please consider spreading the message of the candidacy on Facebook, Twitter, etc. The details of my campaign have been added to www.ubcmanifesto.com until the end of the campaign. Send UBC students in your networks there. Remind them to vote Sept 18-22. Send them this info: "Franz Kurtzke for VP Academic. If you are a current UBC Student, put a reminder in your calendar to vote: + VOTING DAYS: Sept 18th till 22nd at 4PM + VOTING LOCATION: https://amsvoting.as.it.ubc.ca"
Franz Kurtzke aka Franzpostings
Addition to Viewpoint Diversity Letter of April 16, 2017; Topic: Censorship Incident at 'Ubyssey' Student Newspaper Dear President Ono,
(I am again bringing a paper and audio copy of this letter to your office for reference and records. Also as before, although the letter is not short I am convinced it is worth your attention, and that it is not a waste of your time. Please read this at your convenience; I am aware you have a very busy schedule. Thank you.)
I know that our formal introductory meeting on August 4th is only 30 minutes long, so I want to provide you with some more background which I think is important to share with you before then, so there is time then to address other topics (ideally, briefly any thoughts you may have on the Chicago Principles, non-obstruction of protests policy, viewpoint diversity, and of course the main topic of UBC 101). I would like to give you one example of something that has happened to me at UBC involving lack of viewpoint diversity. I don't believe in trigger warnings, as you know, so I won't offer one here, but do know that this is going to get controversial quite quickly.
When I had the initial meeting with [name removed] (June 6) about my proposal for UBC 101, I told her about the censorship incident at the Ubyssey which I referred to briefly in my original letter to you (page 7 of the letter, "[I was] censored actively [by the paper] for introducing a research-based proposal for an article questioning a tenet of popular liberal campus ideology"); this incident had in part inspired my desire for more viewpoint diversity on campus. Here are the details of the incident, a story which I think is part of what inspired [name removed] to act so difficult/hostile toward me (though I absolutely still maintain that her behaviour was not appropriate especially given her non-partisan administrative role, and she should have tried to hear me out more sincerely, since I have thoughtful and careful points, even if they are complex and involved). This story is just the most dramatic of activist-type events I've experienced at UBC, though there have been others:
I took a UBC course on human sexual psychology. I scored an A+ in this challenging upper-level course. As part of the curriculum, we discussed theories of rape, for example the courtship disorder theory, which views paraphilic rape as an extreme failure in courtship development (where for example voyeurism can represent a failure to locate a sexual partner appropriately, and frotteurism can represent a failure to make physical contact appropriately). This is my memory of the theory, anyways. It's been a while. I think we might also have touched upon sociobiological theory (what I think of as being 'rape as an evil evolutionary adaptation'), though I'm not sure.
I noticed that the psychology course never spoke of 'rape culture', among the theories, though rape culture is the only theory of rape I ever heard publicly on campus. At one point, my sister moved to UBC and joined me here as a student; she is training as a scientist in a neuroscience PhD program. She was concerned about sexual assault and safety due to past incident(s) at UBC publicized in the media. Somewhere around this time I was also in communication with an editor at the Ubyssey about writing some philosophy articles for the paper. (I had walked into the paper to complain that it had the feel of a small town sanitized paper, and that I wanted it to be more challenging and interesting; I was offered the chance to write for the paper.) I considered bringing my ideas together in an article.
In the Ubyssey office I informally pitched an article based on research, to explore the questions of the theories of rape I learned in my course, how these relate to the common rape culture narrative on campus, and what the research says about the relative causal contributions etc. (There are even more theories and possibilities than those mentioned in my course; for example, criminal psychopaths might rape people for their own criminal psychopathic reasons). As well, I wanted to find definitions of rape culture, since I was not entirely sure what it meant, and I said as much at the paper. Basically, I wanted to take a kind of analytic, philosophical approach to the question, and to the question of campus sexual assault safety policy related to this, to use the philosophy and psychology I've learned on campus to engage with a common/loud/relevant narrative in campus culture.
I was mobbed.
I was surrounded by an increasingly large group of students in the Ubyssey office, especially young women, angry that I was questioning the rape culture narrative at all. Even though I explained about my psychology course, and that I'd scored an A+ and why I felt there was more to say about this topic, that I had genuine questions and was not simply denying the concept of rape culture, for about an hour I endured being ganged up on by a group of people trying to shame me into abandoning the topic, and spouting off about ideology. I was told certain things I've come to recognize as part of a standard campus narrative. This narrative is that we live in a patriarchal society, where sexual violence is widespread to the point it is normalized, where women are oppressed with a 20-some percent wage gap simply on account of their being women, and rape is simply about power dynamics and is an outgrowth of this system of oppression. Also, that because I am a man, I cannot understand related topics enough to discuss these with credibility.
I am someone who enjoys controversial topics, so some part of me knows that people are likely to find some topics upsetting. My professor of the human sexuality course, whom I consider a wonderful and accommodating person, said once that he thinks my autistic tendencies are in some ways a kind of 'superpower' in that I don't get as upset or offended engaging with some of these controversial issues as other people do. I also realize this puts me in danger sometimes, and I try to manage it (mostly by avoiding people, and avoiding controversial topics, much as I love them). I enjoy controversial issues because to my mind they are 'the highest mountains to climb' when it comes to philosophy; this is where I can use my verbal talents to tackle socially relevant challenges of the greatest kind.
Yet, what concerned me most about the incident at the Ubyssey was that there really was absolutely no reasoning or having dialogue with these students, and it did not present as a discussion so much as a group of people attempting to 'thought shame' me into silence. I was treated as if I was crazy and evil, not simply controversial and coming from a different knowledge background worth considering. I was basically attacked repeatedly by people in a group repeating the same narrative points over and over again. Ultimately, I was socially pressured out of the paper, and when the editor I was working with brought my concerns about censorship to a coordinating editor, my concerns were dismissed and the censorship stood.
My viewpoint had been completely silenced.
It is not just that I disagree with the people who silenced me. After doing related research, I see many issues worth discussing: what is 'the patriarchy', and how do we know this is not some kind of conspiracy theory? what is it we are talking about exactly?; I am extremely skeptical that rape and sexual violence are considered normal or are normalized in our society, and in fact my impression is quite the opposite from essentially every discussion I've ever had on this subject (rape is considered a very serious crime, and even unproven rape accusations can ruin men's lives); there are plenty of issues with the 20-some percent wage gap claim, not just based on logical issues in how this number has been reached generally, but also the more direct economic argument that if employers could hire equally qualified workers for equal jobs at a 20+ percent discount, if I were an employer, I'd simply hire all women, and soon I suppose the discount would disappear from the market; further, my course in sexual psychology and my interest in evolutionary psychology made me very skeptical that rape is only about abstract power relations, and can never just be about sex. These are all intellectual concerns that arose when I thought about having being bullied into submission at the Ubyssey.
I thought what happened at the Ubyssey was wrong, and I planned to go to the Senate with my concerns, thinking this might be a reasonable route. I went back to my sex psychology professor, and he confirmed my suspicion that there are indeed alternative theories to rape culture, and there is still controversy in this area that could be explored fruitfully. However, I was then advised by my mentor (a philosophy professor and former president of the UBC AMS) that I should not pursue this topic publicly on campus, as the radical feminists will publicly slander me and call me a 'rape apologist' (let alone that this term, while very ugly, is basically ridiculous if it were applied to my desire to research and discuss this topic). He advised me that I should wait at least until I have an undergraduate degree to publicly get involved with this kind of topic, because essentially the feminist activists and related activists will publicly mob me even worse than what I got at the Ubyssey, even for trying to rationally discuss the questions, even coming from a good-hearted and sincerely thoughtful place. For this reason, his advice that I was not safe to pursue this topic on campus, I did not proceed.
Let me add here a very important point. Part of my logic for wanting to write on rape culture is that UBC has limited resources to deal with campus sexual assault. If people are insisting that 'rape culture' is the one and only cause of rape, and that we simply have to educate the public to stop rape, to 'teach boys not to rape', then we might actually have a real problem if rape culture is not the only cause, and these methods are not a comprehensive solution. If other reasons are at play, throwing all resources into fighting 'rape culture' actually may not be the most progressive or intelligent (economical?) approach to the issue. I thought that I am actually the truly progressive person in this argument at the Ubyssey, since I want to research evidence based interventions and policies. Also, it is not that rape culture is a taboo topic at the Ubyssey; far from it. It is very easy with a Google search to find multiple Ubyssey articles about rape culture, but not a critical one based on research as I had proposed! (See for example the article "Our activism on rape culture is meaningful", Laura Fukumoto, Ubyssey, Nov. 6, 2013) I was forced out for trying to introduce a different viewpoint, based on research. This relates directly to my concerns about viewpoint diversity at UBC.
However, the activist-minded young people at the newspaper had no real interest in dialogue. I was actually told during the meeting "How can you think you are right when all of us are disagreeing with you?" There was no understanding of the dangers of group think, or of intellectual history, which shows paradigms repeatedly being overthrown. I knew from reading about people like Socrates and Spinoza that the lone individual can absolutely be more correct than a passionate mob, and frequently is. My philosophy training had taught me about how to have dialogue, but these other students seemed to lack the understanding of how to have dialogue about this relevant campus cultural issue, how to handle viewpoint diversity.
All of this comes together to make me realize (along with other related but less extreme things I've experienced at UBC) that there is a campus issue involving viewpoint diversity, and an individual cannot fix it alone. I am making no claim, I will emphasize, about the existence or non-existence of rape culture, as I am not even sure what it means or what its dynamics are. I am defending the need for universities to be a safe space to discuss dangerous ideas. Because, if there should be any place to discuss challenging ideas soberly and in a civilized manner, it should be a top university. If we scholars are not going to study the hard ideas, then I suspect nobody will, and then society is walking blind.
I have some final points, a bit rougher so please excuse the roughness. I am trying hard to understand, and some of these points are more impressionistic than I'd like, but I am open to any feedback or education:
- I am concerned that feminist intersectionality and standpoint theory (what I have gathered about them from my research, attempts to understand what is going on), while fine when taken as a hypothesis for further research or to consider different views, these are in practice being interpreted quite rigidly and used as an excuse for new and creative forms of bigotry and shutting down dialogue. In philosophy, we are taught that ad hominem arguments are fallacious; however, ad hominems are now being justified using some of these ideas, it seems (e.g. you are a straight white male, and are not qualified to speak about people outside your group or issues that affect them, even if you are attempting to logically understand things sincerely using research)
- I have great difficulty making sense of the campus activist culture, but the most coherent explanations I've found so far explain it at least in part as a transformation of Marxist thought, where instead of focusing primarily on class struggle the focus changes to group identity politics, labelling people by their group (race, sex, sexual orientation, etc) and claiming intergroup struggle, oppression and victimization; some analyses I've heard of these politics suggest that the worldview may include that dialogue and logic are oppressive forms of violence, because the only truth about life is the power struggle between the groups, and so there is an underlying disrespect for the very concept of dialogue and search for truth on which the university is traditionally built. At any rate, there is a startling lack of individualism; it is like a form of group think.
- I reached out to a professor from GRSJ (recommended by a contact in the sociology department) with a polite detailed email to ask about how to learn more or to meet with her to better understand trends I am seeing and consider GRSJ courses to learn more, and she did not offer useful advice or to meet. I felt marginalized. As a white male I actually don't feel safe to register in GRSJ courses, and I have doubts about registering in some other disciplines; I have to be very careful, I feel, about avoiding environments where I will face hostility on account of the colour of my skin and my birth sex. I have had other males tell me the same. I also am not convinced that some disciplines are committed to open and critical dialogue, for reasons I have already mentioned (ideological priorities etc, insisting reality fit theories rather than testing the theories against reality) Another issue I've had is dealing with jargon coming from some of these areas I am talking about; I feel as if the ideas are quite difficult to engage with because of the language barrier, let's say.
- I also went into a social justice group meeting chaired by a handful of GRSJ professors, and I was treated very disrespectfully when I suggested that leftist language policing is backfiring, paradoxically undermining progressive goals/ideals and contributing to the rise of some right wing politics. I expressed this from a position of frustration as a liberal sort of person myself!
- students (and professors, I suspect, from things I have read and seen) are scared of being labelled by activists as racist, transphobic, homophobic, sexist, Islamophobic, xenophobic, misogynistic etc etc and/or being dragged through university equity procedures on exaggerated or unfair charges, and so there are huge areas of discussion that are basically blocked off to intellectual inquiry. It seems to me that these above types of terms are in some cases being used as kinds of rhetorical tools (?) to stifle dialogue.
- I am a ballroom and blues dancer (have been years in UBC Dance Club) and dance with several trans people. One of them has even come to me, and she has asked what I think about the social justice and radical feminist activist trends. When I shared all my criticism, she said she agreed and thinks they are actually making things worse for her by using her as a political pawn, essentially. I know this is anecdotal, and this letter is not about trans issues, but it was meaningful to me, and I think it shows some part of my spirit in approaching life, and where I am coming from.
This is why UBC 101, and/or orientation, need to have a component to teach students in how to have civilized and open critical dialogue, and avoid e.g. groupthink and bullying (however well-meaning). If we can train the grassroots in their rights and obligations toward one another as UBC students and scholars in training, they can be more courageous. Also, if we can support free speech with e.g. the Chicago Principles adoption (or whatever in this area) as well as a policy of protest non-obstruction, I am confident that the student body will do their part to reinvigorate dialogue. Basically, we empower the students to feel confident to think critically and speak openly, while at the same time signalling from the administrative level that the university is oriented toward truth as its guiding light, its telos.
I know this is a long, detailed letter, and I hope it doesn't reflect badly on me. I am somewhat terrified to discuss these topics after my experience at the Ubyssey and the disastrous meeting with [name removed], but I have come too far now to give up, and I really care about these issues. I have tried hard to remain sincere and thoughtful, to maintain my integrity, even when I am sure many others would have given up.
Sincerely, Franz Kurtzke
P.S. Although questioning rape culture as the main or only narrative on this serious social problem is taboo here on campus, it's actually been featured as a question critically in many boring(?) mainstream publications read by the general public, and my position of analysis and criticism is technically justified. In fact you'll note I took a much softer position than some others do. I will include links just to show examples of how I am not at all alone in this line of thinking, in terms of society at large. But for the activist types, this was too sacred a narrative to question on campus. My argument is that we should not have topics too sacred to question at university.
P.P.S. At one point in my research I found online a recorded public talk by a UBC philosophy professor about rape culture. He did not mention the alternative psychological theories of rape in this 20+ minute lecture. I believe this was part of the Social Justice Centre's "Re-Taking the University" conference on student activism, 2014. I contacted the professor about the alternative psychological theories I'd read in my psychology class, and very much to his credit, he admitted he'd never heard of these alternative or complementary psychological theories. This is another unfortunate consequence, perhaps, of an environment in which people are not talking to each other across disciplines and sharing ideas openly and freely? This video clip is still hosted on the UBC Social Justice Centre channel of YouTube. The professor (who I think deserves great respect for being honest about only finding out about the psychological theories from my contacting him) teaches the Sex, Gender and Philosophy course (PHIL 334) at UBC.
[VIDEO AND NAME OF PROFESSOR REMOVED OUT OF RESPECT; I ASK THAT YOU RESPECT HIM TOO AND JUST CONTINUE READING]
THE MAINSTREAM PUBLICATION CRITICAL ARTICLES AS MENTIONED ABOVE:
TIME: "It's Time to End 'Rape Culture' Hysteria" (Caroline Kitchens, Mar 20, 2014)
http://time.com/30545/its-time-to-end-rape-culture-hysteria/ It's Time to End 'Rape Culture' Hysteria time.com On college campuses, obsession with eliminating “rape culture” has led to censorship and hysteria. At Boston University, student activists launched a petition ... USA TODAY: "The 'Factual Feminist' debunks stats about sexual assault and the wage gap" (Toni Airaksinen, Feb 22, 2017) http://college.usatoday.com/2017/02/22/the-factual-feminist-debunks-stats-about-sexual-assault-and-the-wage-gap/ The 'Factual Feminist' debunks stats about sexual assault and the wage gap college.usatoday.com “As a feminist and an academic, I felt the need to set things right.” U.S. News: "The Rape 'Epidemic' Doesn't Actually Exist: Statistics don't support the contention that 'rape culture' is pervasive." (Caroline Kitchens, Oct. 24, 2013) https://www.usnews.com/opinion/blogs/economic-intelligence/2013/10/24/statistics-dont-back-up-claims-about-rape-culture Statistics Don't Back Up Claims About 'Rape Culture ... www.usnews.com A group of 100 protesters – including many topless women – recently marched the streets of Athens, Ohio chanting, "Blame the system, not the victim" and "Two ...
TIME: Rape Culture is a 'Panic Where Paranoia, Censorship, and False Accusations Flourish' (Christina Hoff Sommers, May 15, 2014)
Christina Hoff Sommers is a resident scholar at the American Enterprise Institute, a TIME contributor, and author of several books, including The War Against Boys.
AS WITH PREVIOUS POST(S), PLEASE ONLY ONE QUESTION AT A TIME, AND I DO NOT CONSIDER MYSELF OBLIGATED TO ANSWER QUESTIONS FROM PEOPLE WHO SEEM TOTALLY CLUELESS, ESPECIALLY AS IF THEY HAVEN'T READ THE LETTER, OR SEEM LIKE SJWS WASTING MY TIME.
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2017.06.16 18:27 Ghost-Quartet Free voyeur main page
Let’s talk about webcomics. I really like comics because I think they’re unique as a visual medium, but investing in paper comics is a hassle and while I love newspaper comic strips, they can leave a little something to be desired. Webcomics (comics created to be posted on the internet, for those unfamiliar with the lingo) are an exciting medium because anyone can make one, they’re often free to read, and the content creator is in charge of their property so they have full artistic freedom. And due to the way they update they give you something to look forward to each day.
People share comics on the internet all the time, but often times they’re short, pithy strips that blow up because they’re “relatable.” The most commonly circulated comics I see on social media are Owlturd Comics, Adam Draws, and Zen Pencils, all of whom are kind of awful people who churn out low effort “relatable” or “inspirational” comics, blatantly hopping on trends for attention. There are better comics than that, comics with genuine humor or interesting plots and fantastic art. The webcomics world has been blowing up over the past few years. Many artists are realizing that it’s a great way to get some exposure, get some money, or they just have passion projects they’re ready to pursue on their own. Anyone can make one and the field is very diverse, some people make them as side projects to their main artistic endeavors, some people start a comic intending to publish it, some people are just kids who are dicking around. There are serious comics, joke comics, hand drawn comics, cgi comics, sprite comics, etc., the field is limitless. The market has become harder to navigate, and while there’s a lot of quality out there, it’s harder to find. Plus, many young, promising new comics just end up fizzling out and getting abandoned (I’ve been burned before) so sometimes it’s risky to get invested.
I'm something of a veteran on the scene, I’ve read a lot of webcomics in my day (for a long time they were my passion) and I want to spread that to other people. So I scrounged through the comics that I read and plucked a list of some that I think might appeal to y’all. If you're interested in the webcomics world, these are a good place to start. I’ve been reading these for a long time, so they’re tried and true, long runners with established fanbases who don’t seem to be stopping any time soon.
I’ve divided them up into 2 categories: Gag-a-Day and Plot-Driven. These categories aren’t hard and fast, but I tried to lump them into the categories that I think define what they’re attempting best. Gag-a-day comics are generally self-contained and easy to jump into, you can start reading today and never look at the older strips and you'll be fine, so they're a good place to start. I've included a list of "sample strips" with each of these to give you a feel for what the comic is like. Plot driven comics are essentially online serialized graphic novels, so you're in for a ride should you decide to commit to one but I promise that each one that I've recommended is solid.
A disclaimer before diving into the list though: Most of these comics have been going for years and years now, and they and their creators have evolved with time. Most of them got off to rough starts with weak writing, art, or humor, but I promise you that if you stick with them each of them finds their stride and and they’re all fantastic examples of the medium today, but please don’t judge them off the early strips. Sneak a peak at a more recent strip if you want to get a taste of what you’re in for, but be warned that there might be spoilers.
xkcd/Cyanide and Happiness: I’m lumping these two into a spot and putting them first because you likely already know about them, they’re two of the most reputable comics on the net. xkcd is nerd humor and wholesome profundity at its finest (though for my money many of the more recent strips have been slacking off) and Cyanide and Happiness is absolutely hilarious, and if you haven’t checked out their YouTube channel you must.
Sample Strips: Watch the Cyanide and Happiness videos and check out "Click and Drag" by xkcd, unquestionably their most impressive work to date.
SMBC: This is THE gag-a-day comic. One of the best comics on the inter-webs, it’s popular but I’ve always been surprised that it hasn’t quite reached the level of pervasiveness as Cyanide and Happiness or xkcd. I will reiterate that the first few years are rough and oftentimes incomprehensible, but once it hits its gear it earned a title as one of the funniest and smartest webcomics out there. The gags play off of every topic under the sun. There are jokes about math, philosophy, ethics, science, politics, religion, speculative fiction, graph jokes, puns, poop jokes, and interspersed through it all there are some remarkably heartfelt or deep comics. There’s a comic for every situation imaginable. Not only that, they update every day with remarkably few clunkers, so there’s always something to look forward to. It’s probably my favorite webcomic, if you check out any of the gag-a-day comics, make it this one. (Also, if you’re interested the creator and some of his friends also started their own YouTube channel called SMBC Theatre where they have comedy videos. They’re still kind of written like a comic so the humor can feel contrived and preachy at times, but if you like sketch comedy there are some solid videos on there.)
Sample Strips: "Wobbles" "Captain Ahab" "There’s An Old Joke"
Subnormality: Kind of the outlier in this group, Subnormality is definitely the most ambitious. It’s not really a gag-a-day, it’s more of an episode comic, with sporadic updates (theoretically there’s one a month but gaps are common) dropping huge pages with lush illustrations and powerful writing. Winston Rowentree is a very articulate man, and whether or not you end up agreeing with him he’s certainly interesting to read. His writing focuses primarily on the ennui of life in today’s society, filtered through the lens of everyday people. And a sphinx. It’s a running joke that his comics have a lot of words (case in point) so be prepared to do a lot of reading, but his art is fantastic and full of detail. It’s a comic that really makes me think. One of the most sincere, sophisticated comics on the web. One strip in particular, "Watching," was published separately as an award winning book. He’s also responsible for creating a fantastic fully animated web series for Cracked that I highly recommend. (Sidebar: I bought this shirt and it was a great investment.)
Sample strip: "Zanadu" This one is one of my favorites, and a good sample of the finer points of the series.
Buttersafe: I have a soft-spot for Buttersafe because it’s just so… weird. One of the most unique comics on the web for me, I have no clue how the creators come up with some of this stuff. It’s all over the place making jarring shifts in tone and art style from strip to strip (these two strips were posted consecutively) but it’s consistent in quality and the surreal feel of it all. The writing is oftentimes weirdly brilliant, and the art can be quite nice too. It’s ostensibly a comedy comic, but they manage a lot of tones very well. Many are funny, but some are just plain adorable, some are depressing, and some are just straight up profound. The change in quality from beginning of the comic to today is particularly drastic here, many of the early strips are nigh-incomprehensible or just plain pointless, but with the quality of the show these days it’s a must-read.
Sample Strips: "Blow Out Your Candle" "Irrelevant Boy" "Scared of the Dark"
Maximumble: This is the typical gag-a-day comic, but it’s one I’m quite fond of. It always manages to get a smile out of me, it’s very consistent. The humor ranges from wholesome jokes about how silly kids are to some weirdly dark and surreal strips to classic self-deprecating humor. It’s a little presentational with the humor, but it’s a solid comic with a lot of heart.
Sample Strips: "Broken" "Starship" "Odor"
Oglaf: NSFW! I felt a little weird putting this one on here because it’s very much an adult humor comic, but if you’re willing to see a lot of cartoony boobs and jizz, then you’re privy to a prett solid comic. Oglaf is a sex comic, but despite the lewd nature of it it’s not pornographic. It’s a fantasy comedy that just happens to feature a lot of people in naked situations, and not even all of the strips are NSFW. It’s got a weird sense of humor, but it’s consistently funny or at least weird in an interesting way. Many of the strips are one-shots, but there are recurring characters and there have been several arcs thus far, and it looks to be potentially developing into a larger plot arc, so if it intrigues you jump on the bandwagon.
Sample Strips: "Northerner" "Rough Trade" "Amazon Linguistics"
Pebble Version: You ever played Pokemon Ruby/Sapphire/Emerald? Well this is a humorous take on that. It’s a pretty simple sprite art comic that traces the journey of the two protagonists across Hoenn on the same path as the game, though there is an additional overarching plot line involving Mew and someone in a dark room (a running gag). This guy has been updating consistently a page every weekday for years just telling the story of Brendan and May making their way across Hoenn and filling out the Pokedex. In painstaking detail. There is at least one strip dedicated to practically every single npc, item, and Pokemon in the game. Currently there are 2065 strips, and additionally he’s has created a series of bonus strips and “bloopers” that make the archive even bigger. It’s not a great comic by any means, the art and humor aren’t particularly impressive, but it’s got a major backlog and if you like Pokemon it’s a good way to waste some time.
Sample Strips: Honestly just read it they’re all kinda the same.
A Brawl in the Family: I said I would try to only put comics I was sure weren’t going to end anytime soon on here, and that’s not exactly true because this one is already finished, but it reached a proper conclusion. Brawl in the Family was a video game comic devoted to making jokes about Nintendo games (specifically the characters of Super Smash Bros.) and it’s probably the most wholesome example of the genre to be found. Most video game comics are making fun of video games, but BitF really feels like a loving sendup to Nintendo, the creator really loved these games and so he just found fun ways to poke fun at them. It’s got a significant archive of comics and it was a big part of my childhood (I must admit that I got a little bit misty when it finally ended) so if you like Nintendo, check it out.
Sample Strip: "Kirby Transforms" "Heaven" "The History of Nintendo" (A video!)
Awkward Zombie: This one is mostly a video game comic, not necessarily always but it’s well known for its video game strips. Other than that I don’t have a ton to say about it but it’s a lot of fun.
Sample Strip: "Hooked" "All Due Respect" "Scrappy"
The Non-Adventures of Wonderella: This comic is on life support, it used to update every Saturday but the creator has stated that updates will no longer be consistent, but the twitter is still active and there are occasional strips and a great archive, so I’m giving it a recommendation. The concept behind it is that the Godhead (a non-denominational conglomerate of every deity) creates a superhero named Dana Price, immediately destroys her home world and sends her to Earth where she lives the mundane life of a superhero and is kind of a lazy dick. There’s a lot of recurring characters but there’s no plot, it’s just a bunch of comics wherein Dana and her sidekick half-heartedly attempt to stop a series of incompetent super villains. This is superhero at its best, the ironic “Idgaf” kind of humor is really funny to me. The art style is distinctive and the jokes are always solid.
Sample Strip: "VOYEUR Than Thou" "Devil with the BLUES ADDRESSED" "A Simple CRAYON" (My personal favorite strip.)
Plot-Driven: Keep in mind that I’ve linked the the homepage of each, so beware of spoilers.
Gunnerkrigg Court: I consider this one of the top dogs of the webcomic world. This is a fantastic comic, it’s consistently updated M/W/F for years (the creator famously maintains a buffer of 30 strips ahead) and if you’ve been reading for a while you know that it’s come leaps and bounds since it started. The story follows Antimony Carver and her friend Kat, students at a big mysterious boarding school called Gunnerkrigg Court, and their attempts to unravel the secrets of the Court. A delightful fantasy adventure with a delicious mystery at its core, the art and the writing are top notch, a must-read.
Paranatural: Paranatural is hilarious. I’ve been reading this one since it started and I’m so delighted that it’s grown more polished and popular with time. It’s about a young boy named Max who discovers that he has the ability to see ghosts and gets involved with the school’s mysterious “Activities Club.” The premise itself is pretty solid, but what really makes this so good are the characters and the humor. It’s absolutely wacky, the creator has a great sense for characters and visuals. It has an incredibly entertaining cast, even without the supernatural intrigue and action it’s hilarious to see them all yelling at each other, and the visuals are outstanding.
Cucumber Quest: This comic apparently started as an affectionate parody of SNES RPGs but since then it’s morphed into a straight up adventure story that takes a lot of unexpected twists. It follows a bunny named Cucumber who doesn’t want to be the chosen one and his sister Almond who really wants to be the chosen one as they fulfill a prophecy to seal away the dreaded Nightmare Knight. What seems to be a fairly straightforward narrative gets flipped on its headband goes to some really unexpected places, and it’s quite funny too. If you like pastel aesthetics and fractured fairy tales this one is for you.
Monster Pulse: This is the youngest comic I’m going to recommend, we’re a good portion of the way into the story but it’s only been running for a few years. Mysterious spirits are bonding with children and creating monsters out of one of their body parts. A girl name has to learn to get along with a monster created from her own friend while, with the help of her new friends who have similar problems, investigating the mysterious Shell Corporation who seem to be involved with the ghosts. The premise is really creative, and if you like “a kid and their monster” stories this one features some really cool monsters.
Hero Oh Hero: I’m a sucker for the art style of this one, I adore pixel art, but it’s also a really fun story in general. A crazy hero drops out of the sky and rescues a village from some mysterious bandits, and the story takes off from there. If you like classic adventure stories, this one is for you because it’s like a parody of those.
Planet Zebeth: Do you like Metroid? This is a Metroid comic. It’s another long runner, it’s about an alcoholic Samus and a loopy Kraid, and a weird Ridely just kind of existing on Planet Zebeth. What on the surface seems like a really silly, pointless piece of fluff comic actually evolves and develops several surprisingly in depth arcs over the course of the comic with mystery and adventure and a whole lot of slapstick and sarcasm. I know nothing about Metroid and I enjoy it but if you plan on trying to read in with it, keep in mind the early pages don’t even hint at the intrigue that the comic eventually evolves to have.
Station V3: Are you nostalgic for the comfort of syndicated newspaper comics? This is for you. Set in Station V3, a station for refueling gas stations in a rarely visited corner of the universe, wacky shenanigans and hijinks dog the crew through their various schemes to make money and improve the station. It’s basically a webcomic sitcom, exactly what people think of when they think of a four panel comic strip, but over the course of years a surprisingly complicated lore and labyrinthine plot have developed with loads of characters and hanging plot threads, most of which are significant to exactly nothing in the day to day life of the station. It may not be the most gripping or innovative comic on the internet, but it has a large archive and it’s cute and entertaining if you’re into this sort of thing, I’m quite fond of it.
Kill Six Billion Demons: Just click on the link, the art style alone should be enough to make you want to read it. I want to print it out and hang it on its wall. The actual plot itself is a familiar one: A barista’s boyfriend is kidnapped by supernatural forces and she’s granted a powerful ancient artifact by a mysterious force and must journey through the multiverse to save him. A very high quality comic.
So that’s it! I hope you check some of these out, they’re all rich bodies of work to explore and most of them are still updating so you can get caught up with everyone else. Please comment below if you have any questions, or if you have any comics that you like to read.
If you want to look for more webcomics, I recommend you check out Hiveworks, an interesting alliance by creators devoted to finding and promoting quality comics, and Top Webcomics, a somewhat trashy webcomics rating site. In terms of webcomics hosting websites, Smackjeeves is my preferred place, but perhaps you can find something in the dregs of The Duck (formerly called drunkduck) or Comic Fury. If you’re a masochist, there’s also the small but in-depth Bad Webcomics Wiki.
Update: Apparently the Library of Congress now has an archive of webcomics to highlight the significance of the medium in our culture so it's legit now.
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2017.03.18 22:02 James-Caesar Main page voyeur free
Hey, progrockmusic! It's us, James and Tolni, once more here to bring you reviews of King Crimson albums. Well, "reviews", as far as musical stuff and crackpot theories about Peter Sinfield lyrics can be called such. Next up is Lizard.
James: A hodgepodge of silly lyrics, analog synthesizers, and meticulously crafted solos, Lizard is quite the record. Accompanied by quite turbulent recording sessions, the lineup features drummer Andy McCulloch, bassist and singer Gordon Haskell, and woodwinds expert Mel Collins, along with half a dozen studio musicians, including a guest vocal from Jon Anderson of Yes fame. It also features the namesake of the album, King Crimson’s longest song, a multi-part fantasy epic. While different from previous albums and anything that would come after it, it retains the overall King Crimson sounds, while Fripp takes a backseat to the other sonic elements. Another thing to note about the album is the insanely detailed cover done by Gini Barris, which might be one of if not my favorite King Crimson album cover.
Tolni: Lizard is an interesting album. It's a departure from the overall style of the past two albums, opting out for a more jazzy feel and ditching the mellotrons. There's also a change in lineups, as Greg Lake quits (NOOO!) King Crimson, to create the prog rock superband, Emerson, Lake, Palmer. Good on him. He's replaced with Gordon Haskell, of Cadence & Cascade fame in the previous album. The creation of this album's been something of a clusterfuck, so as to say. The main issue came from, well, Fripp being Fripp, who stressed out various session players and musicians present. Furthermore, there was a certain conflict between Haskell and Sinfield, due to the latter's penchant for more...esoteric and off-the-wall lyrics, which was in a direct opposition with Haskell's desire to sing more blues-inspired songs, and often found SInfield's lyrics to be ludicrous. This creative difference later on led to the departure of Haskell, who himself joined on the King Crimson gig only to get money.
Fripp, as time passed, has derided his album, going as far as to call it out. Nevertheless, it remains quite the achievement, an attempt into blending both rock and jazz into one whole. The results are here to be seen...
Cirkus James: Opening with a duet of electric pianos in E Minor, Cirkus is a rather somber album opener. Haskell’s vocals float on top of the arpeggiating keyboards, oscillating between D and E, rising at the end of each phrase. As the drums barrel in at the end of the verse, a haunting mellotron (the same setting used on The Devil’s Triangle?), oscillating between Bb and G, rising occasionally to the tritone E. Overall, the arpeggiated mellotron chord lines up to be E diminished, giving the section the overall haunting feel with two minor 3rds stacked atop one another.
The song continues as Fripp joins in on arpeggiated acoustic guitar (lots of arpeggios in the song huh), and the texture thickens with a heavier bass guitar line, including the tritonal Bb-E. With a shout, the central riff leads into the first solo, a flowing triplet line that creates a clashing 3/2 rhythm. The next verse plays similarly, with a swirling guitar figure giving the phrase a slightly more chaotic feel. A lengthy saxophone solo enters, leading to a sparse verse missing drums. The piece builds once more, and gets quiet suddenly, throwing the listener off.
As the piece concludes, dissonance takes over as the volume builds. Several solos occur, the last of which being a cornet outlining a chromatic tritonal scale minus the A#, moving from A-D#. Under this, the bass guitar revolves around tritonal jumps as well, referencing the initial tritones in the brass feature. Overall, the minor and diminished arpeggios along with the tritones giving the piece a very swirling, cirkusy feel, while still remaining sinister.
Tolni: Cirkus. One of my favourite tracks on this album, it's a bit of a weird song, at least lyrically. (You're gonna hear this a lot in this album and in the next.) It starts off with birth; the beginning of the lyrical speaker, introduced all in the first verse, with the soft voice of Haskell telling us how he was born. As the verse goes on, his voice's strength increases. He is sent into the Cirkus. A one-time visit there, which would change his life forever, as he sees the true chaos and absurdity that is the Cirkus.
In the next verse, we see how he's getting there, as he's directly plopped into the Cirkus, following a payment. It is loud and chaotic, and then we meet the Ringmaster, who runs everything around there. He invites him to the parade, where on display are most of of the social classes and occupations. Then, in the next verse, a not-so-subtle dab at TV and its shallowness, as a clown speaks out how they should worship him as he's a TV. At the parade, there's a band and there's police and high society women. Afterwards, there's the strongmen guarding the next batch of people coming in, the politicians. They are 'skillful in their lies, as they acrobatically juggle with lies and truth, and with the help of mirrors they hide their true selves and agendas…
But this parade is all of a sudden broken down, as chaos breaks out. The elephant (a stand-in for the normal people, those not present in the parade, constantly caged) after being force-fed stale chalk for years, eats through the cages and rampages through the Cirkus. The strongmen are fleeing, and there's new forces - the lions - have arised on the Cirkus's stage to take advantage of the rage of the elephants. All hell's let loose, and even the lyrical speaker is fleeing for his life, only to be greeted out on the way out that this is how it is and how it should be. Just fun in the Cirkus!
I love this song. It's very...erratic. One person I showed this song commented that it is as if there's five or more melodies, all going together at once, always dissonant. I must agree, and James's part of the review will likely prove that. It's what makes it so special, in the end; this feeling of multifacetedness that reality has, the lack of a single unified feeling. It's great.
Indoor Games James: If you liked the indulgent solos of the last song, boy oh boy will you love Indoor Games! The first appearance of Sinfield’s VCS3 Synthesizer, the sound of the song is a far departure from much else King Crimson had done. Sure, the saxes are familiar, but the synth is completely out of left field. But somehow, it fits! The overall theme of the album, both with recording sessions, sound, and lyrics, is strangeness. While an odd choice musically, the synth fits the atmosphere set up by the other odd things going on in the mix.
Getting on to the actual music, the piece is in the key of G. The first note the saxophones hit is an A-C# major third, which seems happy. It is, in fact, until you add in the Eb in the bari sax, making it an A(b5) chord, something often found in jazz. While it sounds dissonant and weird standalone, the song moves the opening line and the odd chord becomes part of the melody. Unfortunately, it’s not my job to make heads or tails of the lyrics, since I can’t. Because of this, I can’t tell you if the music evokes the emotion of the lyrics, but I can tell you what the music does evoke. Under the vocal line, Fripp skitters around the fretboard, giving a more intriguing backing than just quarter note chords. Even more interesting is how Fripp uses both channels of the stereo mix, and records two different guitar backings, placing one in each channel. He does this, almost, to make up for the lack of a very strong rhythm section. While Haskell can play relatively well, he’s no Lake or Wetton. McCullouch, on the other hand, is a very good drummer in my opinion. Where he falls flat, though, is his drumming seems to be a semi-wooden impression of Giles, who I’ve come to appreciate as a musician massively lately.
Indoor Games always felt far longer than it is, along with Cirkus. I think this is part due to the excessive amounts of solos in the album. And it wouldn't be King Crimson if there wasn't something weird about the solos, either. Rather than just letting the soloists play for 32 bars or so, Fripp would have them record a few bars, and then record a few more, then splice it all together. While it’s an odd practice and something a lot of the session musicians disliked, it certainly does give the solos a different feel, almost a balance between structure and improvisation. Overall, I think that Indoor Games is my least favorite track on the album. It’s a nice transition between Cirkus and Happy Family, but I feel it drags on too long through the solos. But speaking of...
Tolni: If you ever looked at King Crimson lyrics, perhaps driven by this review, and you just checked out Cirkus, you probably thought "Whoa, what in the world..". Well, if after that you wondered - could it be weirder - then, I, as the person reviewing the lyrics, am more than happy to say: Yes. It does. Oh, does it. It's kind of difficult to parse through what is the point of the lyrics, as my compatriot has noted above. Sadly, in this case, it is my job to literally divine what in the world they mean.
While in other songs I spend my time deliberating, often for whole days, as to what certain lyrics mean. (The fact it doesn't show is another thing.) This time, however, I'll just go with my gut. Indoor Games is about nothing. But not "nothing" as in "this song is about nothing". No, it's about how we, as humans, seem to just loiter around. It's the inherent pointlessness of all the everyday actions we do. As I was writing this, I realised "Oh, so it's just a trippier *Cat Food, isn't it then?"*. And it all kinda strung together, in a way.
Let's first begin with the name of the song, and the line that features at the end of each verse - INDOOR GAMES. It's a refrain that comes on and on, but to what end? Simple. It nullifies all of the actions described in the verse itself. It reduces them all to mere games, played only for the amusement of the people inside, with no point, no spirit, nothing. All of the unnamed characters are simply stuck in an infinite loop of banality, with no means of escape.
Much like Cat Food, the tone in Indoor Games is derisive and disapproving. However, unlike Cat Food, in which the mockery is somewhat indirect, in Indoor Games, we see the pronoun ###### you showing up more. And the tone is much more direct. Imagine, that as you're doing your daily deeds, Peter Sinfield is staring through the window, with his unblinking eyes, and he's writing a song about how your entire life is pointless and empty of meaning. This is how Indoor Games must have came to be. Or drugs, but that's boring.
So, let us begin with the first verse of this theoretical voyeurism which likely never happened. It begins with the master of the house (that's you.), as he tries to impress his house staff by playing a "game" where you're pretending to be them, as you dust the fake garlic plants. But all that does is snickering from the house staff, as they can't take you seriously. Your next attempt to try and be "them" fails just as badly, as you wear nothing but your apron (armour, in the lyrics, but it'd make more sense if it means apron, yes? Yes?!), and before anything can happen; the lyrics are cut off by the INDOOR GAMES refrain, which ends all actions.
Next up, are your "friends", but the lyrics quickly show that they aren't actual friends as one might call them, who are easily amused by your puppet shows, and are not commenting on your awful recipes only because they might offend. It's all boring. And lame. All you do is lay on the sofa in your clothes.
And this review would be about as pointless if I review each and every verse separately, so I'll just say that it follows how you slowly degenerate and become stupider and stupider, with each verse getting more and more absurd. Are you even alive? Well, not you, the reader, but the ###### you in the lyrics. You know, whomever Sinfield is stalking late at night. This doesn't seem like a normal life. It feels like a sickness, an almost feverish ennui, if you will. There is no meaning, no reason, nothing, to this life. It repeats itself about as much as this review repeats itself, except that at least Sinfield got royalties for this, at the end of the day.
Finally, the song ends with Haskell's laughter, distorted over into a nightmarish sound. The story of this laugh is rather amusing, in fact - it was a result of the inane, almost gibberish lyrics, which he couldn't possibly take seriously. Regardless, apparently the rest of the King Crimson crew felt it's appropriate, and they included it in the song itself. And I can't deny it; it fits in well, as it's a denial of this whole absurdity, a way to be above the person we're observing, as we clearly are doing meaningful things and our lives are full of reason and sanity and all the things that are lacking in Indoor Games.
Happy Family James: As we jump from my least favorite song to my second favorite song, Happy Family starts after an interlude of bizarre laughter. Sinfield’s VCS3 Synth carries the melody this time, pulsing over a dramatic descending bass line. Haskell’s vocals come in after a few repetitions, and is distorted in the strangest way, presumably through a Leslie speaker. When I first heard the song, I thought my headphones were messed up. But once I learned what the lyrics actually were, it started to settle with me more.
I must admit, The Beatles are my favorite band of all time and I believe they will continue to be always. Their influence on King Crimson is clear in songs like this, where the entire body of the lyrics is about them, or in Cat Food from the previous album where Come Together’s bassline is echoed. Another interesting link I discovered recently is their usage of mellotron presets- the same flamenco guitar on The Beatles’ The Continuing Story of Bungalow Bill is used in a live King Crimson performance of Travel Weary Capricorn (https://www.youtube.com/watch?v=5xjbk3xPdj0, found at 3:15). Fripp also says that Sgt. Pepper's Lonely Hearts Club Band was a main influence of his early on, and that King Crimson was an attempt to combine Hendrix, The Beatles, and Stravinsky.
The song itself is interesting musically. It teeters between 6/8 and 4/4, but the quarter note stays constant, rather than the quarter note in 4/4 switching to a dotted quarter note in 6/8. Instrumentation wise, the song is soaked in spastic electric pianos, elevator music-esque flute solos, marimba, synth, and jagged guitars. All of this nervously weaves in and out of each other, creating tension to mirror the song’s subject. There’s even Beatle-esque harmony vocals prefacing each line at times. The song comes to an end, and Haskell’s vocals are completely clean, which makes me glad they put distortion on them, as they don’t fit with the soundscape without modification.
Tolni: A fresh breath after the existentialist nightmares that were both Cirkus (somewhat) and Indoor Games (definitely), follows up Happy Family, a song about the Beatles. To be exact, about their breakup. By the time of the recording of this album, late 1970, the split of the Beatles was more or less plainly obvious. It isn't a surprise that there's a song on this topic, as it was something of an important event. Understatement of the century.
The first verse starts out with the line "Happy family, one hand clap, four went by and none come back.", which is repeated through the song multiple times through the song. It's the main theme of the song, in the end - how the Beatles is supposedly a happy family, where everything is just okay. But the two words afterwards dispel that - how can one hand clap?! It's all a lie, an illusion. The Beatles were disunited, and there can't be a happy family if there's no unity. They're bound to split up, and never reunite. The first verse is otherwise about the various drug abuses of the Beatles, hinting about McCartney's (in this case, Judas.) LSD use, and his following advocacy of legalization of drugs, which (presumably) wasn't liked by the rest of the bandmates - hence, the "We'll blow our own canoes" line. The last line presumably is about all the noise made about it.
The next verse is about the Beatles' tours. One should keep in mind that Happy Family is by no means chronological, and it goes in and out as it wishes. Anyway, while the tours are all across the world, bringing music to everyone, it also fattens their check balances. Indeed, all seems good, but then they start to get tired of this way of life, and demand a break. It is then that the first ripples in their relationship, to which the song itself refers - what goes round must surely spin, as the happy faces are souring. Finally, the last line, a reference to Grip-Pipe-Thynne, a character from The Goons Show, a favourite of the Beatles. No, I definitely did not google this and found it in a site dedicated to King Crimson. Nope. The "spoken" line itself is referring to Rin Tin Tin, a world-famous dog and a superstar. It's unknown to whom it is said, but one thing means - the bandmates weren't going to be dogs, unquestioning and forever loyal. No, they couldn't bear this any longer...
The next verse, I believe, is about the recording of the White Album, a notoriously messy affair, which is, in fact, what was the final step in the breakup of the Beatles. First off, Rufus (or Ringo) becomes serious, and starts to worry about the band's future (after all, of all the Beatles, he was the most liked between all three of them). Secondly, Silah's (Harrison) embrace of Hinduism, as well as introduction of various Indian instruments - most notably, the sitar. Finally, Jonah (or Lennon)'s wife, Yoko Ono, an object of controversy even then, and then Judas (or Paul)'s controlling tendencies during the production of the White Album, which strained his relationship with the rest of the band. And again, the line from the beginning of the song repeats, mockingly, as the band deteriorates…
The final verse sets off the post-breakup careers of everyone. After Abbey Road and Let it Be, the public isn't caring much about the performances as so much as the drama around the breakup. First off, Silas (Harrison) is searching, a reference to the eclectic, but nonetheless great album, All Things Must Pass. Then, Rufus (Ringo) is "neat", referring to his multiple appearances on projects such as All Things Must Pass and Plastic Ono Band, as well as his solo albums released in 1970. Afterwards, Jonah (Lennon) is "caustic", referring to his first solo album, Plastic Ono Band, a great album (and better than Imagine), which become notorious for it's brutal honesty and critique of the social order. breathe And finally, at least, comes up Jude (McCartney), and his album McCartney, which, of course, as every single McCartney album, has at least one love song. Or several. Then, at last, the song talks about a barber who will cut their hair short - a sign that rebellion is over, and now you're part of the people with the short hair. Old people. And it ends on the same note as it did. The Happy Family line. And it's over.
Jeez, and that's one long review. And that's just the third song. Anyway, I like Happy Family; it has those cool distorted vocals which make the entire song even more chaotic, and it gives a feeling of pure wrongness. It's also filled with tons of injokes. Whew. I still prefer Cirkus.
Lady of the Dancing Water James: Lady of the Dancing Water is a relatively simple song, similar to Moonchild from the debut album both in style and in placement on the album, serving as a calm before the storm of the title track. Haskell’s vocals fit nicely in with the flowing flutes and pianos, but compared to Moonchild something seems different. In my opinion, it’s the lack of a moving and intricate drum part, due to the lack of Giles. While the Lizard rhythm section is strong in it’s own right, the band wouldn’t be able to match the Lake/Giles duo until Wetton/Bruford/Muir on Larks’ Tongue in Aspic.
But anyways, back to the album we’re reviewing at hand. Lady of the Dancing Water just feels bland, and while it’s a pretty song with an interesting trombone feature and a nice melody, it just doesn’t stack up to the rest of the album. Not much more to say on it.
Tolni: I'm not gonna spend a lot of time here. It's mainly a filler song, giving a nice respite between Happy Family and the 20-minute epic, Lizard, from which the namesake of the album comes from. It's not bad, a calm and soft sound, echoing Cadence & Cascade in a way, and it's clear that Haskell is much more suitable for such kind of songs, as opposed to the weird and distorted songs before. Overall, nothing much to write home about.
Lizard James: The meat and potatoes of the album, the entire second side, the namesake of the album, it is time for Lizard. But specifically Prince Rupert Awakens. And Bolero. And The Battle of Glass Tears. Don’t forget Big Top.
The piece begins with a fairly jarring descending glissando in some synthesized instrument, playing an E(b6)(b9), to be exact. In the first vocal line, “Farewell the temple master’s bells”, guest vocalist Jon Anderson of Yes fame sets up the recurring rhythm. This pattern reappears and makes up the bulk of the heavy section of The Battle of Glass Tears. The use of sparse instrumentation and suspended chords leads to a suspenseful opening in a minor key. Suddenly, with a transition, the key shifts from A Minor to A Major, the rhythm section wakes up, and the music switches from a downpour to a sunbreak. This pattern repeats a few times, the second time with some harsh piano accents and a hint towards the bolero rhythm in the drums. Eventually, the timpani rolls build as the snare carries the rhythmic pattern into the second movement of the song, Bolero.
The mellotron strings have now been replaced with a cornet, and later a cor anglais, as they both solo other the span of four minutes. It’s clear throughout this where the cuts within the solo phrases are, as instruments will jump intervals that normally aren’t natural, achieving a strange, classic King Crimson sound. A jazz ensemble made up presumably of the studio musicians joins in for a few minutes, complete with atonal and piano and chirping brass, before dissipating shortly after. We hear one last cor anglais solo, stretching the instrument’s upper tessitura.
After a brief vocal appearance by Haskell, his only on the 23 minute piece, we get into my favorite part of the piece, The Battle of Glass Tears. The layers of heavy woodwinds and mellotron and guitar, as well as the rhythm section, all boil up into something that truly sounds like the anthem of a battle. Fripp’s guitar soars over diminished and augmented and overall off-kilter chords, until the piece breaks down into a haunting solo by Fripp, which may be my favorite piece in the entire album.
While I think ultimately I would’ve preferred the album end there, there’s one more bit of Lizard left, in Big Top. Interestingly enough, for a while Big Top was the working title of the album. Effectively a loop, instruments enter and exit the fray as the song alternates between two chords- G7 and C. And with that, Lizard finally concludes.
Tolni: And here we are, folks. What we've been waiting for. Forget the songs about meaning of life and cryptic Beatles breakup songs. The culmination of Lizard has finally come to us, in the form of the multi-movement suite. It even has Jon Anderson, of Yes fame, singing on the Prince Rupert Awakes portion. It's different from anything done by King Crimson until then; a coherent (And when we mean "coherent" here, it's in the sense that in order to make sense of it you don't need to be completely insane.) epic. One can easily say as well that it presents itself as a synthesis of the entire album, as well.
But let's get back on track. The real meaning behind Lizard, much like all other songs, is obscured behind the typical Sinfield lyrics, which is to say, there's a layer of metaphors, references, in-jokes, and what-not. That being said, there's a theory about Lizard being based in the real world and draws allusions to historical events. Since there's about 10 pages of it, and the moment I started reading it, I thought I'm slowly going insane, I prefer to stick to the idea that, fundamentally, this song's about fiction.
First off, we start off with the Prince Rupert. He leaves off to search for Eden, after a final visit to the temple. Behind him, the whole court is behind him; he's going on a noble cause. But the time has not come yet. First, he must learn more about it. And how else, if not by showing his purity - the tears of devotion for the cause, which water the ancient scrolls that reveal the location of Eden. He just needs to watch out for the Lizards...which are, well, guess who - Satan. The snake. The Great Deceiver. (Cigarettes, ice cream, figurines of the Vir- wrong album.)
(NB: The fact that I've mapped Lizard to Satan doesn't mean I believe this song is Satanic or is in any way related to Satanism.)
The chorus makes this even more evident. The Lizard is the one that tempts you to do away with everything and everyone - making you burn all the bridges behind you, and abandon all that matters. To ignore one's voice of reason. And for what? Just to grab Satan by the throat? Is it worth it all the sacrifices? I can't really say if it's worth it; but Prince Rupert has sunk deep into this, with Eden. Hell's path is paved with good intentions, after all.
In the next verse, the name of Polonius is namedropped, so as to say. According to most interpretations, he's a sincere, but foolish character, who always seems to take all the bad judgements. This only reinforces the feeling that Prince Rupert is taking the wrong choice. Death is sure to come, as the reaper's being present in this verse, as well. Afterwards, it seems that he fights the Devil with...well, corn. I'll be fair, at the risk of coming as uneducated, but I can't make all too much sense out of this. Perhaps it means that the well-fed peasantry will resist the Devils? Who knows. Once the Devils are killed, however, they fade, and are "reborn" in the form of a Swan; a sign of change, that even the most irreparable beings can become good.
The final verse of the Prince Rupert Awakes starts out with a curious historical reference. The Courts of Piepowders would be the lowest, yet, amusingly enough, most efficient way of dealing out justice in England before the 19th century. It usually dealt with petty crimes. ANYWAY. It seems, that in Lizard, it serves the purposes of Satan, as it makes him and his devils sell foolish dreams to gullible folks. And, again, one of those people happens to be Prince Rupert himself, as he seeks the mystical Garden of Eden…
Then begins the next act. Originally, I disliked Bolero – The Peacock's Tale, the second part, as I felt it's filler and goes on for far too long, without bringing much to the table. However, now, in light of this interpretation, I find it appropriate. It tells us of the long search of Prince Rupert, far and wide, going through faraway lands. All to seek Eden.
But then! It all ends. The search is over, in a way. But the stage is set for an epic battle. Gordon Haskell gives us a grim description of the night before the battle. Two...civilizations, shall we say, meet to battle it out in an epic scenario not too unlike out of Civilization. The fear. The anxiety. The hopes, even. Will they secure Eden from their counterparts, who, much like them, desire this coveted land? It is unknown, at the time. The uncertainty is terrifying…
And then it comes. The culmination of this piece. The clash of the nations happens, and neither sides seems to want to back down. Swords clash, men die, and it seems that it's not going into Prince Rupert's way. It seems he, himself has to fight on his own, in a desperate struggle. You can hear how his sword is clashing with someone else's at ~18:00. But it's too much. He's overcome, and he perishes in battle. He pays for the fact that he gave into the lies of the Lizard, with his life. There's no Eden for him, or for any mortal. The foolish dream is cut right there…
...yet, oddly enough, there is redemption. There's a pleasant and nice tune, at the end, as a respite of sorts after the heavy jazz instrumentation and all that in the past 20 minutes. I believe, however, that this isn't just a silly thing that Fripp & Co. threw in because they thought it sounds cool. It's showing how Prince Rupert's soul ascends to Heaven. Ironically, he does reach Eden. Because, in the end, he's not a bad person. Just a misguided one. We all are, aren't we?
And that's Lizard, for y'all. Somehow, even this got existential. Damnit.
Conclusion James: Normally when I finish the reviews, I’m so burnt out on the album having heard it many times over a short span. This time is no different. The album, while being very good, is an excellent album to put on in the background, as you go through the fantasy journey of synth and artificially (T: Demand only free-range solos from your musicians!) constructed solos. It’s got a unique sound, although what King Crimson album doesn’t, and is the last great King Crimson album before Lark’s Tongue in Aspic. Sorry Islands.
Speaking of, join us next time when we take a quick pit stop in the direction of bizarre before we get to Islands!
Lizard - 9.5/10
Happy Family - 9/10
Cirkus - 8/10
Lady of the Dancing Water - 8/10
Indoor Games - 6.5/10
Tolni: What can I say. To finish up my thought from the intro, Lizard was a success. In whatever it tried to do - whether it was an abyss where rock and jazz met and coalesce into one big mess, or whatever else, it worked. It's a kaleidoscope of "weird" - each song bringing its own stripe of bizarreness. Where Cirkus presents itself as a critique of the social order, Indoor Games comes in swinging about nothing and everything, just to be taken away by Happy Family, a bizarre song about the breakup of the Beatles. And then, just as you're taking a breath as you listen to Lady of the Dancing Water, you're slammed down with the 20-minute epic of Lizard.
In the end, it's a typical King Crimson album, isn't it? Never lets you catch a break. This one's just a bit more jazzy.
...Oh, as I was reading James' conclusion, I suddenly realised the existence of Islands. It's one of those things that make you realise that, no matter how much you're joking around, Robert Fripp, is also human and makes mistakes. But before that, as my "companion", James, said, we'll take a detour into something completely different!
Cirkus - 10/10
Happy Family - 9/10
Lizard - 8.5/10
Indoor Games - 7/10
Lady of the Dancing Water - 5/10.
Give us any comments you might have, or complaints about my descent into complete and utter insanity and/or stupidity.
submitted by James-Caesar to progrockmusic [link] [comments]
2016.07.08 09:00 chesneyguerilla Free voyeur main page
I should explain that there are two series of books in the works. Pyre of Dreams is the first book of what I think of as the second series (Histories of the Void Garden). The first series (Histories of Allim,) tells the back story for some of the characters you will meet in Pyre of Dreams and lays the foundation for most of the concepts and story arcs. I did start at the beginning originally.
In 2011 I completed the first draft manuscript of The Histories of Allim, Book 1: The Fall of Allim. It was the first time I’d sat down and attempted a novel length manuscript. In 2010, that first draft started like this:
The Fall of Allim: Book 1 of the Histories of Allim
Author’s introduction English is not my first language and as such I must thank Earl Starling for his assistance in bringing my work to fruition. My verbal communication in the Anglo Saxon parlance is fairly tolerable but the written form will always be horribly alien to me and life bares such joys now that I see little need to change this. Understand that in telling, it is necessary first for me to illustrate my origins and that these origins will be so completely foreign in aspect as to be jarring to many of your sensibilities. I hope that by the end of this discourse you will understand and possibly come to appreciate my decision to leave aside long discussions of the science of my society. Far better that, than others are left to replicate mistakes, or worse, compound them. There is hardship in this world, depravity and injustice that I may never experience and there is so much suffering. As long as there is still choice, as long as there are still dreams, you can bring about change. If you have any kind of freedom at your disposal, you have a duty of care to the oppressed in the world to bring about change. I had a dream last night and you were there and together we saw the world reborn.
The book of Antrusca tells the story of the first king of Allim, this was before the wall. Dannum was a king who lived in the void garden and led his people to victory over the harsh realities of the wilderness. The book tells that, in his last year in the wilderness, one fateful day, the king was swimming in a great river, washing away the grime and sweat of his labours. While swimming, the king’s muscles grew tired and cramped and he found himself too far from shore to either rescue himself or to call for his beloved citizens to save him. The king was said to have been dragged into the current of the river and was lost, feared to be dead. The citizens spent two days searching for his body, mourning and wondering who they should now look to for leadership. On the third day, the bereft and weary citizens had made camp by the river and were offering prayers for god to lead them from this disaster when a figure strode into their midst. The king returned to his people, strong and unscathed and told them that he would now lead them through their final trials in this, the void garden. The king was thenceforth ferocious in battle against the other tribes that existed, rending the flesh of enemies with his teeth and destroying them completely. This fearsome first king of Allim stood at the front of the battlefield, protecting his citizens while they laboured building their first great city. So it goes that the first king, Dannum, led his people from the wilderness and rang in the first true age of scientific discovery. The people worshiped King Dannum as a God amongst men. The God King lived for well over one hundred years and would be remembered for hundreds more. Chapter 1 – Growing up in Allim
I would stare at the sanctuary wall of the West Tertiary of Allim sometimes for vast periods of each day during my formative years. These walls had protected us from the harshness of the void garden and for this we were all taught to be thankful. The original sanctuary was partially destroyed by fires from the void garden during the 20th century and it was under the instruction of the 37th King that the second sanctuary wall was built further in and writ larger. The first wall was hewn from the rocks of mountains and penned in Allim at a size of roughly one hundred and sixty thousand square miles, towering one hundred and fifty feet over the citizens as a constant reminder of the dangers of the void. The sanctuary wall that I grew up with brought Allim to a size of one hundred and thirty three thousand two hundred and twenty five square miles and stood at a height of five hundred feet. This second wall meant that the citizens of Allim would never be able to appreciate the heritage that was lost by the shutting out of the first sanctuary wall. The millions of lives lost during the cataclysmic fires and the following floods that engulfed that first kingdom guaranteed that the citizens would see a loss of heritage and freedom as a small price to pay for their safety. I was born in what was commonly thought to be the 170th century under the reign of the 289th King of the Supreme Monarchic Succession. My parents always talked of the year of my birth as being heralded by great tragedy in the family; my paternal grandfather, one of the greatest scientists in Allim died several months before my birth and his wife, the lightning rod of our family passed two weeks later. My father would describe his parents as these mythically large figures, striding proudly through the pages of history, helping shape modern Allim. My mother had no such stories of her parents and this was not unusual; girls were never brought up by their parents, instead being taken into the fold of the Matriarchal Divinity during their first three months. At no point would it be possible for parents to attempt to make contact with their daughters. All of the girls and also many hundreds of thousands of the boys, the children of the lost, grew under the parentage of the Matriarchs until such an age that they could properly fend for themselves as members of society. All children were sent to the Matriarchal Divinity during their formative years, the distinction being that the sons of the lost and the daughters of Allim lived with the MD, usually until the age of thirteen or fourteen, sooner if they were deemed to be capable of demonstrating their worth as citizens. The lost; those members of society deemed to be living outside of the tenants of the book of Antrusca or given to dark or seditious thought, were removed from society and their children were taken into the city of the Matriarchs. The primary form of population control and one of the central tenants of faith was the culling of the dark mind, that is to say, those who were given to questioning the beliefs of Allim or the governance and rule of the Supreme Monarchy. The book of Antrusca contained several hundred laws of conduct, all of which were met with absolute obedience, because to disobey would guarantee a death sentence.
It was contemplation of these facts, more than anything else in my life, which gave rise to my daily visits to the sanctuary wall. There are countless millions of histories of the children of Allim that were lost in the name of our religion and this thought coupled with the depravation of my maternal grandparents was always a source of greater consternation to me than the deaths of my paternal grandparents. Why? My father’s stories brought his parents to life constantly in my childhood mind. Yet there were these mysterious people I would never know, that my mother never knew; her parents. This aspect of society however, kept almost a third of our population in work; the female was deified, almost to the same extent as the King. Women must only know the parentage of society and the strict adherence to the tenants of the book of Antrusca. In effect, most women in Allim worked during the day researching the book of Antrusca, faithfully and doggedly imparting the knowledge therein to the children of Allim.
How could we not question the nature of our existence with the ever mounting burden of these deaths weighing on society? This was my every waking thought in childhood and this too was my darkest secret and fear. It should be plain that I marked myself for death with these thoughts and as such, I learned at the youngest age to keep them to myself. Sitting on the knee of one of the sisters of the Matriarchal Divinity, I would hear her utterances, hear the violent nature of our God Kings and I would shiver inside, knowing myself to be of the dark mind. It was always a risk for families working in the Scientific and Religious Sector, that their thoughts could run to the void and beyond but most families in the science Sector knew well enough to build their own sanctuary wall around such thoughts. I suspect that by the time of the 289th King most people questioned Allim, questioned the wall and questioned the core tenants of Antrusca but such was the fear that was bred into the children of Allim that these questions would never find voice.
I must explain a little of what I knew during my childhood of the birth of the society of Allim. Technological advancement was our religion. The ability to wall ourselves in from the dangers of the outside world was not our first great technology; we acknowledged a great history of scientific minds that preceded the writings of Antrusca. Our ancestors had developed a profound understanding of physics, chemistry, biology, astronomy and metallurgy. They rapidly built on this knowledge and enjoyed a population burst which was phenomenal; the daily experiences of the people of Allim were greatly enriched by technology. The earth was to them however, a vengeful and angry youth which spewed its fires on them in petulant jealousy of their mastery of her makeup. This isn’t what I believe, this isn’t my creed; it is however how it is told in the books of Antrusca. So it was understood by Antrusca that the very same death fires that had provided our understanding of magnetism, sought to destroy us for that understanding. This may seem a slightly perverse logic. Before the creation of Allim, the earth that provided was deified as one of the three heavenly bodies, then, as our understanding grew, the earth became the villain and the science was deified. Finally, the man who mastered the science to our protection was deified and the science was understood as his gift to his children. Evermore there would be a King ruling Allim and directing our course of learning, allowing us to research and understand that which he saw fit for our enquiring minds.
In apprehension of the wall, my mind would dissolve and collapse into contemplation of the millions who had given their lives for asking that fateful question, “What lies beyond our science and our God?” My question was different from theirs; without the wall and the sanctuary of Allim, how many more of us would there be? How many billions would number the children of Allim, the children of Antrusca? These were the lost that I mourned, as much as those slain in the name of our religion and science; the lost that never were. As a child of the sciences I was in a privileged position in my questioning because daily, my ability to rationalise the question grew stronger, as did my ability to conceive of an answer to these nagging questions. The only answer that I ever came to was that we must bring down the walls of Allim. My family had lived for generations, fairly close to the heart of Allim in the central Tertiary, but the rapid transit of Allim was such that it was possible to travel from the core of the central Tertiary to the outer walls in less than the equivalent of an hour (4.16666 Transepts or 4 Transepts, 16 Trancents and 66 Tarsepts, the concept of time in Allim, which was decimal, will be discussed later.) Allim was almost entirely without crime. As you mull that thought, understand that it’s much easier to police a society when even ill thought towards that society is punishable by death. Even allowing me to travel alone to the West Wall, it would never have crossed my parent’s minds, that any ill should befall me, because it would never occur to even the lowliest citizen of Allim to commit an act of violence or insurrection. Besides concerns of societal behaviour, my parents also had nothing to fear because the West Tertiary was where they worked, where I studied and where my family fit within the society; the science district.
Almost every mile of land of the West Tertiary was given to the Royal Council Institute of Religion and Science. The change in scenery as the tracker carriages raced from district to district carrying its payload of children and workers was always fascinating to me. Residencies were all built in one form or another of glass or substances similar to your Perspex or resin, each section of a residential building cast from the same mould with each habitual unit designed with an interlocking system of grooves on each side; thus it was possible that habitual units could be added to a residential building with no disruption, doorways melted away in a matter of moments with the builder’s tools and stairs between units already built into the cast where necessary. Habitudes (the collective name for the units that denoted the residence of one family) always consisted of, one unit for sanitation, one unit for the preparation of meals, one unit for parental rest, between one and three rest units for children (depending on how many children there were in a family) and one unit given over to all other activities. This last unit would be where families would spend most of their time and residential buildings were usually constructed in such a way that four families would have this unit adjoining. If family units were close enough with neighbouring units, pressure locked sliding sections would be cut into the walls so that it would be possible to carry out conversations between the family groups or simply to enjoy watching and listening to the daily goings on of each other’s lives. This was our main form of entertainment in Allim; not voyeurism in any sense, which would never occur to any of us because it would be completely unnecessary. Instead there was simply an enjoyment in watching the lives of our neighbours happening everywhere around us. Not voyeurism because our sense of sexuality was entirely celebratory and not at all focused on shame and also not voyeurism because there was no element of life that we would not welcome our neighbours in to. Voyeurism only exists where there is guilt and there could be no concept of guilt over the enjoyment of watching the lives of those around us. There was no real concept of ownership because as soon as a new item had been conceived of in the science Sector, an item that would benefit family life, that item would be produced in sufficient quantity that every family in Allim would own, usually within a matter of weeks. The family unit was sacred and no one would question or do anything to harm a family unit because there was nowhere to hide and again, an act of infidelity should such a thing ever happen, would be punishable by death. The daily on-goings of the Scientific and Religious Sectors of Allim were an entirely different matter. Secrecy was paramount if you found yourself to be working in assistance of the Supreme Monarchy because it was necessary that the people of Allim at large only have access to the scientific discoveries that were deemed by the Monarchic Succession to be necessary to the lives of the minions. There were still thousands of glass unit buildings throughout the West Tertiary; eating places, none Monarchic- none science Sector workshops. Largely, however, there was a transition from central Allim to the West Tertiary whereby instead of lass and bodies as far as the eye could see you would be suddenly greeted by colossal metallic faced buildings, edifices of stark domination with these buildings of glass only interspersed throughout this sometimes silvery forest. It was a contrast I found frightening, this utterly transparent existence of the majority severed so cleanly from the academies of the Monarchic Succession by these impenetrable walls. As stark as the academic buildings of the West Tertiary were, there was still the sheer beauty of the gardens of Allim. Indeed there was much solace to be found on my journey from central Allim to the West Tertiary in these strange and beautiful juxtapositions; the glass residential blocks with harsh academies and awe inspiring gardens both visible through the glass walls, the inhabitants of the residencies sometimes appearing to float in trees or to be climbing the monolithic walls.
As part of the college of science, 20 transepts of every day of my childhood would be spent in the academies, attending lectures on sonic solidification, gravitational contrasting, entropic states and other such delights, the rest of my time was my own but there was a societal expectation that the children of the Science Sector would use their free time in the contemplation and research of their field. Then of course there was a parental expectation that my free time would be finished by the 70th transept, there being 100 transepts per day. I usually abided by both sets of expectations to one degree or another; I always spent my free time in contemplating the study of science and I usually arrived home within one or two transepts of the 70th. The contemplation of science however, is something that in my mind encompassed a very broad scope of activity and this brings me back to the wall and to the fact that, honestly anything between four and ten transepts a day could be spent staring at the wall. I suppose that as a child of science, any wall should have sufficed. Up close any wall could take on the iconic representation of the wall and I was well aware of this but there is somehow a difference between sitting five foot from a wall and it encompassing your field of view and sitting one mile from a wall and it being the focus of everything in your universe. In main, my studies as a child took place in Arctum 12. Arctum 12 was one of the most recently constructed academy buildings and it stood at a height of 130 ft which for that particular part of the West Tertiary was pretty imposing, however this belied the actual size of the building which had basements that were dug down a further 200 foot. Arctum 12 was a source of quiet consternation for the citizens who lived or worked in that particular part of the West tertiary, as it was built in the very centre of what had previously been a one square mile, lustrous and verdant garden. I empathised with their loss of beautiful scenery, comfort and tranquillity, but ultimately I enjoyed studying in a building that was so regally couched. I started attending Arctum 12 when I was four years old, this being the usual age at which children were given to studies. I can’t say that I remember there being a difficult transition into this academic life because the children of Allim were raised on and nurtured by the religion and sciences of Allim. We all knew that the study of science was sacred and that, as our young minds were abundantly open vessels, we must serve Allim by accepting the gift of knowledge willingly and with obedience. A good portion of the Northern region of the Central Tertiary was given over to the Matriarchal Divinity. From birth to four years of age every boy who did not live with the Matriarchs would be shuttled swiftly to the Matriarchal Divinity to be tended to, nurtured and educated during the working transepts of their parents. In my fourth year I would instead shuttle to Arctum 12, occasionally with one of my parents but often in a shuttle compartment that was entirely comprised of children. Given the choice between travelling with my parents or with the other children, I had no real preference. We children of Allim were no more unruly than our parents for the most part and there would often be faces among the other children that I would recognise; either class mates from Arctum 12 or litter mates from the Matriarchal Divinity. I suspected in my youth that the girls who were allowed by the sisters of the Divinity to pursue tutelage under the sciences were those that were less amiable towards their litter mates rather than those that displayed a stronger grasp of science. These suspicions were entirely founded on the basis that most of the girls I knew in Arctum 12 seemed to dislike boys. Later in life I would discover that this was the nature of childhood wherever you went in Allim and not specific to children of the Science Sector. Until I was fourteen years old, most of my free time was spent playing in the garden around Arctum 12 and I was quite gregarious. I took no greater pleasure than climbing trees and playing in the waters of the pond. My views on life changed dramatically two weeks after my fifteenth birthday.
Copyright Damian Huntley 2016 All Rights Reserved.
submitted by chesneyguerilla to Allim [link] [comments]
2015.10.01 13:59 nikoma SysTemD is an STD
Hello and welcome…I'm going to make things very clear. lets begin briefly, shall we? the wonderful shills have ensured that mint's been talked about as attempt to entrap exodus newbies running from windows into settling for another false sense of safety, privacy, and security. These excellent shills are pretending to settle for and install freedom-disrespecting, proprietary mint as well as recommending it in every thread to trick people desperate to switch their OS away from windows.
"hey look guis, look at me pls, oh…well…! I will just use mint because it's my only option… ;)" It is a cheap and common "lemmings over a cliff" style disinformation tactic used to win over people's helpless, FOOLISH minds, and it works surprisingly well… I presume you are all aware of systemd, Correct? It has been made quite sure that the stupid general public believes it's just another pointless thing whiners complain about needlessly… But in reality, systemd effects all Linux OS users!isn't that great? systemd is an infectious, insidious, and diseased bloated blob plague of systemically parasitic, hypocritical, self-contradictory, purpose-defeating, pretentious, freedom betraying software that its creators daringly pulled off as an init-system! systemd takes away from it's users the freedom of choice and severely limits the control users have over their own computer. systemd is so restrictive and authoritarian to the point that it more than figuratively rapes your whole Operating System.
user makes the choice to remove systemd and use a different init-systemSysTemD is an STD
countless packages and programs that existed long before systemd and never required systemd to function are now somehow all tangled in an evil, sticky, and obnoxious web of unnecessary forced artificial false dependencies interconnecting throughout the entire OS
any attempts to regain control rips out half the OS along with everything useful
OS is now a dead husk
quite evil yes? excellently evil
and Finally as the plan comes together, we have micro$oft releasing it's own linux os, as if enough people didn't find them overwhelmingly abhorrent enough, to the point that unfathomably massive groups of people (who didn't participate in any surveys or statistic gathering) became refugees and migrated to other video game consoles and operating systems after only xbox one what a wonderful nightmare that was… and now again at the release of windows 10 "walking dollar sign to parasitize private data off of, I MEAN CUSTOMER who we care 10 quacks about-edition" http://itsfoss.com/microsoft-announces-linux-os/ http://www.networkworld.com/article/2260199/virtualization/microsoft-stuns-linux-world--submits-source-code-for-kernel.html http://www.mslinux.org/ which brings me to my final point, my great revelation of the plot against freedom itself.
WINDOWS, MINT, AND SYSTEMD ARE ALL CONNECTED!
How would anyone have ever guessed this ingeniously designed plot!? You are all drooling fools!
I will make it easy for a stupid "person" to understand.
windows 10 releasedYou can check in but you can't check out, so enjoy your stay because you are never getting out! -√¿#΅ςγζτεηη–εггôř΅∞8∞8∞8∞8
ignorant uninformed people keep using it, even though it steals your wifi and social networking passwords
smarter yet still a multitude of levels more stupid than I, freedom seeking people attempt to flee this evils grasp and beg for knowledge online to the best of their pathetic ability
mint and ubuntu shills pop up and fool a percentage of them promising ease of use
meanwhile other shills scare them away from linux entirely by throwing noobs right into the grinder "installll gentoooo, installlll archhhh, installlllll fedoraaaa, installllll redhattt"
meanwhile yet again, systemd spreads through linux like a virulent plague, infecting and un-freedoming multiple linux distrobutions, forcing users to run around trying to remove it or find another distro with no systemd. So I Welcome you all… to the NSA/Prism hotel where there is a Mint under every pillow and a pervert voyeur looking through your Windows.
you can check out, the ticket is truth. may it set you free, now run!
systemd is four-hundred-twenty-five-THOUSAND lines of code for just an init system. systemd is a plot to windows-ize linux and ruin it for everyone who loves freedom. systemd is being shoved down everyone's throats. systemd is massive for an init system. systemd is bloat. systemd is a Linux kernel coup attempt. Systemd tries to incorporate way too much. Many previously isolated components are all carelessly blobbed together which not only widens the angle of attack but also makes the system as a whole less reliable, because one small error and whole system goes down HARD.
Systemd is being pushed by obviously malicious people. Consider the following: The reason developers have decided to depend on systemd is stated to be that it solves problems with device management, for example. However, several tens of thousands of people have worked for decades without addressing or even mentioning the existence of such a problem. if the problem existed, it would have been mentioned.
If the problem existed, people would have worked on it. Mentioning a problem costs literally nothing and would have been effectively mandatory in dev mailing lists and ircs e.g. when discussing a specific implementation, interface, or approach taken or to be taken by a project. The systemd-backing people almost exclusively use emotions-based arguments to support systemd: "The only other option was sysvinit! If you don't like systemd, you're a sysvinit fanatic! The only people who oppose us are the men in the linux community that have a deep hatred for women!"
The project is strongly endorsed by various feminist groups that have nothing to do with technology. The system is headed by a developer reputed for making low-quality software. If literally any other piece of software had the kind of bugs described in the various systemd issue trackers, they wouldn't even be accepted in distro repos, yet systemd has been widely adopted in a matter of months, breaking compatibility and not offering upgrade paths even on the likes of strong server OSs like debian or centos.
SELinux - a NSA project - developers are strongly for systemd, nevermind the numerous bugs and undoubtedly numerous security vulnerabilities. Speaking of, there has been NO audit of systemd even though everyone is accepting systemd no matter how security-sensitive the distro is meant to be. It's pretty evident that something is really wrong with systemd's adoption. basically the bastards who want to enslave the world decided that the best way to control opensource is to create their own and promote it until it's the standard even though it shouldn't be.
new people would fall for it and the more knowledgeable are facing a lack of support for their alternatives. The project to create an all-encompassing system that can be easily infiltrated by, at will to provide root access and spy on arbitrary non-backdoored systems is being funded by, and is being promoted by the, global elite across the entire community. It's clear that the adoption of systemd is not normal and there's something hiding behind it. Nobody has ever been specific about what kind of problem systemd solves, nobody has ever even mentioned having a problem before systemd appeared, and suddenly it spreads like wildfire.
systemd's design is flawed intentionally to increase its attack vector and make it vulnerable for outside attackers to break it more easily. There is a reason why systemd is pushed by Red hat, an American company with very close ties to the N $ @. Red hat controls Fedora, so Fedora adopted it first, then Red hat enterprise linux and because Red hat funds most of debian, they also caved in.
Basically all of the major distros are controlled by Red hat one way or another. Everyone hates Gnome, yet it is still here, why you ask…… it is Red hat. Red Hat wants control of Linux. Anyone who opposes systemd is in the way of them controlling Linux. They will do whatever they can to make sure that Gentoo, Slackware, Void, and Alpine have the worst time possible by not solely supporting systemd.
After red hat fully takes control with systemd, there is no need for different distros, because basically they will be all the same but with a different logo.
submitted by nikoma to LinuxCirclejerk [link] [comments]
2015.06.03 22:36 TheDreamtimeprophet The starry-eyed
There are only two things which have happened in my life which I might consider 'paranormal'. Hate to use that word. I don't believe in ghosts or monsters or magic spells.
The second one is the story of how a close friend of mine died.
For those of you skim reading, looking for a blurb or synopsis… evaluating if this is worth investing five minutes of your reading time... It's essentially a story about this night club me and my pals frequent in Sydney, Australia... called 'The World Bar'... and the biker gangs, ice junkies and heroine addicts, and 'other people' we met there. Mostly it hinges on some really fucking evil girls who my friend Chris once called 'The Starry Eyed'.
Perhaps if I suggested that they were into some fucked up shit (sexual and otherwise) and may even have been involved in his death, you'll be sufficiently intrigued.
It sounds weird I know. Life can be weird sometimes.
The first 'paranormal' thing that happened to me was when my grand dad died. He was old so there was nothing 'unnatural' about his death. It was still fucked up, (I guess death has to be). He was senile at the end, and they put him in an old folks home and everything. I hated that place so much, fucking ugh…they are just the worst places in the world, old peoples homes. All the old people in that place were in complete agony, begging to die y'know. You could hear their groans echo through the halls, like some satanic hymn. Dementia and deterioration took my granddads dignity away completely. They had to help him shit and get dressed, spoon feed and hand wash him. I hope that never happens to me, the sheer fucking indignity of it. He would rant sometimes… (no one would really understand what he was saying), they would just smile and pretend like everything was going to be... ok.
Lots of things he said were just insane, product of the dementia I guess. Something about a TV screen in his eyes and all his memories and experiences and how he could change the channels of reality. He was hallucinating a lot. When he was dying he said he could see grandma waiting for him, but in fact he was just staring at the nurse… and thought it was grandma. That was really sad for me somehow, his fake heaven.
I couldn't help but feel like I did understand what he was saying' (sometimes), at least I got the sense of it.
I knew that he was afraid, and it felt like he wanted to explain to us why he was afraid, or to me. Like he wanted to warn me…. His last words I knew he was speaking directly to me because he sat up right in his bed and looked me straight in the eyes. It was like his last effort to say something to me, as if, when, he couldn't communicate anything else… then there was just ONE thing he wanted to pass on to me before he left the earth forever.
The words stuck in my mind; 'You have to stop somewhere…haveto.. You can't keep… going. You have to stop when it happens Tom. You'll know. Just promise me that you'll stop!!….you'll....' Then he fell back into a daze. No one else in my family said anything, just pretended like it didn't happen. But there was this other sensation which occurred, shit mate, I can't explain. Has anything like this ever happened to anyone else?? When he sat up and spoke. There was some feeling, like an extra brightness, or a cold shiver on my skin, my mind kind of vibrated. Paranormal is the wrong word here. The experience was mental… But it was almost 'dream like'. Hyper-real somehow. The moment seemed to etch itself in my memory with some added significance like an internal photograph. I can only say, that something separated that moment for me and singled it out, amplifying its importance, and it remained at the back of my mind, through many experiences to come, like an odd stench ridden sock, waiting for its mate.
Whatever this weird cerebral experience was it truly effected me. Because after this I started having the nightmares. The first one was about granddad, right about the time that he died. In my dream I was watching the hallways in that awful hospital, like from some warped mirror floating along the roof, like I was an evil black magicians spell-cast demonic-eye taking in the scene. I felt as though I was attached to the flesh of the room through some steely metal hooks, I could almost taste the metallic pain of those old folks under my cheeks as I slept. I saw them wheeling grandpa in his bed down a dark hallway, the screams of suffering patients echoing all around him. It stunk of decay and death.
They took a rickety lift down into the sub basement way below the hospital, then wheeled the bed through dingy, rust ridden metal walls, finally into a dark room through a stained, yellow-brown curtain where I continued to watch pained from above, my minds eye wading through the dank gloom above him, a voyeur to his private death. I tried to call out to him but he couldn't hear me, I had no mouth to scream. A dull red light flickered, adding a moody evil to the room, where suddenly the tarnished curtain swished aside and a doctor entered.
From out behind him the blackness beyond that curtain seemed as deep as the night sky, as sleep, as death itself. I couldn't see the doctors eyes just the light reflecting from his glasses, in one wretched movement he pulled a rusted hacksaw from his pocket and lifted it over my grand fathers dead body, I got the idea that I was watching what happens to bodies before they reach the morgue. (This was the deterioration of the public health system, I thought, in a dream-like logic). But then the truly abysmal thing happened. Grandad's wet miserable eyes stretched open like boiled egg whites bursting out of the top of a clenched fist. He was still alive.
My back aches as I type away at the keys. My whole body hurts… but the most pain comes from one point in the back of my spine. I'm sick. A mere shadow or a photograph now, my soul is still locked in that basement, through that big wooden mahogany double door, in the bottom of the World Bar where I was witness to terror incomprehensible. The terror which men have seen in wars, which my grandfather saw in Changi prison when the Japs cut off his fingers. That terror which we have a thousand names for, which some, with too small vision have improperly called 'the devil'.
For those of you who have never visited Sydney, 'The World Bar' is in Kings Cross, in, what used to be the red light district here. I mean I guess it still is the primary zone of strip clubs and brothels, but lately the police have been cracking down on crime, there's lockouts and curfews in all the bars and its been substantially gentrified. But this was once the pulsating sexual organ of Sydney, and the streets were always chaos. People were killed in fist fights by sexually frustrated gym junkies, women were raped in alleyways by ice addicts. Psychopaths wandered the streets brandishing knives at dolled up hot chicks, and the police were too busy to get a handle on --half the hell-- in the place every night of the week. It was the centre of all sin and debauchery in New South Wales. (Here's a link if you want to find a portal to your imagination: https://www.google.com.au/maps/@-33.87485,151.223972,17z
We went down to World bar every weekend, maybe catch a band downstairs in Candy's basement. We had the advantage of knowing the bar staff there, so anyone who's been through that... knows what it means essentially; free drinks, constant new friends, access to private clubs and getting into Candy's for free. They were the best and worst of times. Maybe just the best (if you don't count the awful stuff that i'm about to relate). We met some curious people to be sure, members of the notorious biker gang 'the banditos' were always around, but they knew us and we knew to fucking be nice to them so they didn't start shit with us. I witnessed a drive by shooting one night, could've been a witness to the killers identity, put him behind bars,… but I said nothing... and he got off scott free.
But that's another story mate, for some other time. Australia harbours a lot of the turning of a blind eye.
The first link in the chain in the story of this….fucking living horror, was when I met that cute aboriginal girl. Her name was Binda. Beautiful name, still delights my tongue like honey, she said it means 'deep water'. Deeper than I knew, man. This girl really got a hold of me and I think I was in love for the first time in my life. Love at first sight, mate.
The fateful night started out like any other, our circle of friends, a new skype chat and a growing blur of excited messages. 10 people noticed themselves added to a group with a simple message; 'What's on at Candy's this Friday': Headline 'The red roamers' …supported by 2 many DJ's and 'Flowers of Volthoom'. Pretty soon the chat lit up with replies.
We shared mutual friends with too many DJs and it was usually a pretty good night when we saw them, and hung out with them. I was in the office and I basically turned off my connection to the work system and stopped calling potential sales targets for shitty Optus plans and spoke to friends for the rest of Friday afternoon, until we left to go to the bar.
I don't even really remember how I started talking to Binda that night. She must have been connected to Naomi somehow, I remember asking her why she was here, which is when she told me that she was friends with 'flowers of Volthoom' (one of the bands at Candy's that night), or was staying with them at least. She made it sound awkward deliberately, almost prompting for more questions…. so I followed it up... 'Your staying with them but your not friends with them???? Hey, what the fuck does "Flowers of Volthoom" mean anyway? Sounds weird. Like a gardening show or something?' She looked at me perplexed and sad, as if not knowing which part to explain, or how much to explain, or wondering how she could explain, 'Oh… Well I been staying with dem, but its not like I know them that well, or…. anyone really… I've only been in Sydney for two weeks eh. i'm from Yirrkala in North Eastern Arnhem Land,… Y'know? its a tiny indigenous community. Never been to the smoke till recently, eh.'
'Big smoke I mean.' She took a draw from her cigarette.
I looked on fascinated, without having to casually fake my demeanour one iota, for the first time in a random bar conversation, maybe.. ever.
'Wow. Really. It's your first time to Sydney??'
'Yeah. Dem girls told me Volthoom is some writer? Nah… i'm wrong eh, it ain't. It's a story by a writer, Clark Smith? Volthoom is the… Satan of Mars or somethin', like the planet Mars, dem people there in the future, have their own superstitions about the devil, like you white fellas have, but there they call him Volthoom and not Satan. (On Mars.) (Supposedly.)'
'Wow. Sounds pretty strange' I said...
'The girls said something about flowers I don't know. Vulthoom, dem Mars devil sends the flowers to earth to destroy humanity. Something like that. Those girls are pretty strange eh. They told me something else weird but I don't understand proper. They say to me the other week… 'Binda, are you for us? We are the flowers of Volthoom.' and then they laugh.. They always say stuff like that. Another time dem saying' 'Don't you get it? We are the Shambleau'.
'Thats another one….. Shambleu! Don't know, just like stories, these girls. Dark stories. 'Weird fiction' . Actually dem girls pretty fuckin' weird eh'
… We both laughed.
We were chatting most of the night and I lost track of my friends, having pretty much the nicest conversation i'd ever had. Of course my friends would come by and interrupt our conversation every now and again…to scab a cigarette, or by way of deliberately making waves in mine and Binda's flirtation, trying to cause awkwardness, in that supposedly innocent but sinister sabotagey way that friends do… when you are so close to some form of actual happiness.
Of course, we went down to watch the bands in Candy's at some point, Binda introduced me and my friends; to the girls from Volthoom. (They were these sultry Ukranian girls with a scary, sexy dead look in their eyes, there was something off about the way they laughed.) As if they thought everything was all one big joke, even the serious stuff, the sad stuff, the sacred stuff. Chris didn't mind at all, he was totally into them, and they seemed to play into his fantasy of them, eating up his tired pick up lines... like he was the most charming guy in the world. (Although I have heard European chicks dig Australian accents.)
Their band was good anyway, I mean their music was kind of hypnotic, grunge Euro-folk I guess you'd call it. The point where it got weird was just after the gig. Binda told us to come into the back room of Candy's and me and Chris and Naomi followed them in. I'd never been in there before, didn't even know there was a room behind the stage. (We were already pretty drunk, so its kind of a blur from this point), I remember my conversation with Binda clear as day, but everything else is kind of hazy. Flickering lights and red curtains, you know.
It was the flowers!!! The Volthoom girls had these big pink flowers with wide petals, and they passed around one to each of us, I had no idea what the fuck was going on, but when Binda stuck her nose in and took a long, hard sniff I got the idea. Some kind of in-joke with the name of their band, but obviously the flowers were laced with… something. Should have asked what …but you rarely do when somebody's offering something for free, and being that Binda was there, I would rather look like a bad-ass. I'd probably have drunk poison if it were offered at that point.
I inhaled the chemicals inside the flower and got a tingling whiff of that -generic metallic chemical smell - you get with certain drugs, and a nervous rumbling in my guts, plus a tingling face and twitching cheekbones. Everyone else followed suit. Whatever we had done… we'd done it now. Some mutual contract to unknown sensations of desire and ecstasy and anxiety. Binda leant over motherly and whispered in my ear; 'Don't worry. It takes a long time to come on….But its really good when it does.' Once more I had the opportunity to ask her what it was, but I just gave her a mixed look which either said 'Don't worry i've had this before, do you think i'm stupid?' or… 'Hey. Ive never done drugs before in my life, but I trust you.'
Either one or the other!?? (massivefacepalm) I think we danced for a bit too. I was waiting for the drug to come on, fearful… (or at least apprehensive) of what the effects would be, which is why I was not susceptible to Chris being…so…. out of character.
I would have stopped him and asked him what the fuck he was talking about when he came over to me and said in a half dream, 'You know who these girls are??? The wild ones. The starry eyed…... I feared and dreamed this day would come all my life!'.
If I was sober... If I was sober I would've slapped him and told him he was talking nonsense. Ask him what strange spell had come over him. Instead, in that numb state of going along with things, I smiled back and gave him a knowing look…. like he'd just said something deeply profound and eternally true, and watched as he walked away back onto the dance floor.
In some fast haze that I can't recall the exact processes of,.. I wound up on the roof of world bar, alone, with Binda. Actually it was as if the whole world had disappeared except the two of us. I don't think the drugs had kicked in fully yet, but something was going on, because the stars were different. They didn't feel so cold and distant, they felt like they were dancing in slow motion all around us, just for the two of us, like a private band. I do remember turning once and seeing a single red star which made me shiver. We both sat down on a bench and Binda really opened up to me. I pretty much just stared at her in awe as she poured her heart out to me, and told me her life story. Ill try and put it down as best I can.
Maybe I did, at least start the conversation, now that I think about it. I asked Binda why she left Yakala. 'Yirrkala…Y..I.. R…' (She corrected me) We walked over to the balcony that looked down onto the street and she rested on one arm.. which pushed her face up into this cute kitten like expression. The stars were just silver streaks in the sky now, I think the drugs were slowly coming on.
'Anyone with brains was trying to get out of that shit hole' she mused…'so… pretty much just me haha'.. I laughed…
'You prolly know nothin about the deep outback, but its pretty baron, eh. Life is too hard there. Couldn't hack it basically. Got sick of all the decay and misery.' she continued in what would soon become a monologue, 'You know about the dreamtime doncha? Thats the abo religion. Its a sacred place where all the spirits and dream things live. We have sacred laws in our land you know,' she said 'Anyone who breaks the laws, they say, can get Jakaga nanga ma, (which mean in your language) I think something like 'Waking nightmare'....
The words made me uneasy.
'My people language have a long history... not on paper like white folk do you know much about it?'. I shook my head. 'Lot of the dialects is linked to the marks in the rocks. We can read nature like you read a sentence on a computer screen. (admittedly she was talking pretty quickly, I guess from the drugs). Dem's a local legend where I come from, in the marks in a big red rock, tells the story of two snakes Tikali and Jakar who fought over the ownership of their children.'
I smiled and tried to absorb it all, the way she told the story in that sweet husky voice meant I could listen to just about anything, even if I had no fucking clue what she was talking about, how it was relevant, or where it was going. Really I was just staring at those big brown eyes, her soft hair twinkling in the starlight and that cute fringe over her face, that adorable little oval nose. 'Tikali was the benevolent snake and wanted the best for her children', she continued '..but Jakar, she wanted to sell them into slavery.'
'In our culture Jakar is a very important figure and can be known by the big red star in the night sky, which you white fellas call Mars'. Once more I turned around, machine like, to sneak a glimpse, only for a slim paranoid second at that lone red star in the sky which stood out like some hideous demonic eye, gazing into my petrified soul, weird I should've looked at it already tonight.
After an infinite millisecond the anxiety was gone…. and euphoria, love (and lust) washed over me once more.
Looking down on the street I suddenly became aware of Chris, and some others, it was the three girls from Volthoom. 'Fuck I said. I should contact my friends. They must have no idea where I am.' Binda grabbed my arm and re-assured me looking into my eyes with a suggestive and cheeky look which I understood. 'Don't worry' she smiled 'You're friend goin' home with dem girls. He'll have a nice time.' I knew exactly what she meant and without any envy I returned to Binda, who had become my whole world.
'Anyway…' she went on coyly, smiling seductively as if to imprint the hope of the end of our night, rubbing her warm thighs together needfully. 'One day me and some the boys from Atalla all sittin' round the fire. I finally got the guts to tell 'em i'm leavin'. That i'm gonna come up to Sydney and not common' back. They're good mates and support me, but one boy Bilo, his grandmother over hear y'know and she come up to me to give me dem lecture of local people do. …
'Wait' I inquired mainly to prove I was listening, 'you people have a different religion to the rest of the indigenous people?' She raised an eyebrow. 'not all abo's the same you know.' We laughed.
'You're all dole bludgers though' I mocked. 'FuckoffyadumbCunt' she quickly retorted recognising my irony cautiously 'don't mess around or i'll fuck you up good. In our culture…' she returned to the point, 'there are always two paths you can go by…. The righteous trail (Left by Tikali) and the dark and deceitful path left by Jakar. Honest and good should always try to stick on Tikali and the noble song lines, else they might be driven into the prison inside the earth where the shameful Jakar was driven after the big big war, which happen a long, long, long time ago.'
Her story had entranced me. Maybe it was enhanced by the drugs coming on? It was as if I was hearing some sacred untold story… a story you only hear once in a lifetime. Something which had the wisdom of the ages, and some personal insight into my own very existence. I felt like the 'dreamtime' was calling out to me. And for the first time in my life, everything made sense and was beautiful.
'Anyway', Binda went on 'Malia, …(Bilo's grandmother) lectured me again about this ol' legend which I heard a thousand or so times before,.. then she give me this necklace. She said the necklace would keep me from the nightmare path, keep me safe y'know. I took it anyway, because it very beautiful. She call it the earth stone because it has a special green opal in it from a local opal mine. Looks a lot like 'earth' this stone from what i've seen of pictures from space. 'You never take it off' she say 'This gonna protect you from 'bad with a million face' ...
(I have to say she was right about these opals. Some of them do look like planet earth:
But I can't guarantee it will explain what was to follow, or if it's relevant to this story at all.
I vaguely remember the two of us waking on that rooftop.
'The dreams are part of the effect of the drug.' Binda informs me…in a soft, sullen and troubled voice. Her voice was sly, like some double secret agent in a spy movie... unveiling a secret unknown plot or sabotage. Then suddenly, she bursts into tears.
I guess perhaps melancholy is the come down effect of this strange drug then?
'What? What's wrong' I ask. 'I didn't mean to. I'm sorry. I don't know what i'm doing.' 'What are you talking about??'
'Those girls…' she wept 'They're bad people'…. I grunt perpelexed: 'Huh?' …'bad… bad… bad…' I tried to hold her but she kept pushing me away from her. 'I can't help you if you don't explain what is wrong'. She grabbed me by my collar, her eyes were red and tears fell from her eyes like melting ice. 'They….last week.. I've only known them for such a short time but.. I mean they dated this guy, he cheated on them, they showed me what men could be like. I was bitter too, from my own experience, it almost made sense.' I grabbed her arms and screamed, blowing her fringe out of her face with my breath. 'WHAT??? WHAT???'.
'I saw them drain all the blood out of his neck with a bottle opener…. into the bathtub.
I double took… 'What in the actual fuck are you talking about??? She looked at me with the guilty eyes of a weeping alien virgin Mary, or Saturnian mother Theresa. ' There's something wrong with them, I don't know, they bathe in the blood of their victims,
'CHRIS!!!' I yelled. 'Where do you live???' I shook her 'What's your address???' She looked up at me, with apologetic eyes, wishing to make it alright. 'They live downstairs', she moaned low, 'under Candy's basement.'
I begin to run downstairs, Binda trying to hold me back and then yelled a warning after me 'No! Stop! Don't go down there. They'll get you too. Tom!!!! The book. Don't read too much of that book. You have to stop.' I heard my grandad's words echoing in her gulping throat…. 'There's a point at which you have to stop. You'll know. That girl.. she's a liar. Don't read that link.... the Shambleau. The Shamblaeu!!!! Its all lies. You'll know her by her headscarf! under the fabric. Under the fabric. They keep it hidden. Don't read the link! Tooooommmmmm! You'll know her by her headscarf!'
Her insane warning was ineffective. I was already scaling the fire stairs and dashing down, flight after flight, storey after storey. I didn't know when to stop but I just kept going down, down, down until I reached the bottom. There was a firedoor in the pitt, a big double mahogany door. I kicked it. Powerfully, it blew open almost magically with the echoing of a cold wind, and unleashed an awful stench into the stairwell, an old and ancient stench that hurt the senses. Inside there was only darkness ...but I entered unhesitantly.
Still completely confused and scared out of my mind. 'CHRISSS???' I yelled in the darkness. 'CHRISSSSSS?' Tears of terror damming up in the sacks underneath my bloodshot eyes. I could hear a faint dripping sound, like a leaky tap running into a bath, and chuckling, horrible cackling and hissing sounds from those demonic, 'starry eyed' bitches. CURSE YOU VIPERS! I had no idea where I was going, but felt around the walls, until I found a door, entering deeper and deeper into these afore unknown chasms beneath Candy's basement. Then I saw it. A light up ahead. A small rectangle of light, about the size of an A4 page. I ran up to it. 'ChRISSarryouthere?' I yelled one more time. The thing was waste high and I could now make out a level surface in front of the light, illuminated by its glow.
It was something rudimentary set up… to sit on. So I sat, leaping down in front of that rectangle of light. Of course, horrified, I then realised what the rectangle of light was.
And that is how I found out about the Book of Loki:
submitted by TheDreamtimeprophet to nosleep [link] [comments]
2013.03.25 07:12 wordsarecheap Page main free voyeur
My first draft of this post 8 pages long and 50% over the max character count. So this is a condensed version. ...I would be willing to PM the full text if anyone is interested in it. If this seems to jump around that is why.
This is the aftermath of the questions I asked a few days ago in this post. http://www.reddit.com/Swingers/comments/1aqhwf/planing_to_go_to_sex_club_on_friday/
Also for background, you could read my first post which I posted here: http://www.reddit.com/Swingers/comments/178y8h/want_to_try_swinging_but_only_ever_had_one_partne
So, my wife and I went to club FA last night. It was more or less everything I was hoping, as well as afraid it would be.
We sat in the parking lot for about 15 minutes while I had a quiet panic attack. I've never been in a strip club, never really had a sexual experience of any kind that didn't solely involve my wife. I have more or less have considered myself very vanilla, with some recent strong voyeurism fantasies.
We went in and took the tour. He took us though the play area, which was almost totally abandoned. But then we turned a corner and someone was getting their pussy eaten in the sex swing. That this was the first time I've ever seen someone else naked in a sexual situation, other than my wife, ever. My wife handled it beautifully though, asked the tour guide if it was rude to stand and watch, if watching was ok, and he let us know that yes it totally was and that we should also expect to draw a crowd if we played (which he pointed out to us means "having sex") in almost any area.
The night club was crowded, at least 100 people there all together. The fear came back, I hate bars, night clubs, etc. I've never gone to one by choice before, and socializing was not happening. The clam I had during the tour vanished, and I was left sitting at a bar table with my wife, in a night club, feeling sleazy suddenly. We sat for about 15-30 mins. with out talking to anyone other than apologizing for being in the way of the walkway. My wife says she want's to go to the play area. I think it might be too early, but I really wanted to go somewhere quite to talk and get my nervousness under control, and oddly enough we found the play room was the best place to do that.
We found what looked to be the most private place we could find and relax and talk for a bit. I could tell my wife was having a MUCH better time than I was so far. She seemed really excited, and that made me excited. I kind of felt up until this point that I was the one who might be dragging her into doing things she didn't want to, but it was clear this was the kind of thing she has been thinking about doing for a long time.
She got naked slowly, and after a few minutes we start to notice the moans in the play area a getting louder. Problem is the room was simply too small for me to go down on her with out my feet sticking out. So I told my wife we needed to move somewhere else. What was weird is she kept telling me she was really close to coming, but from my perspective (I can usually tell show far she is getting) I wasn't getting any signs that she was getting anywhere at all. More on this later.
I felt pretty well prepared, nothing really caught me too off guard, well, except just HOW open everything was once things started to pick up. I figured it would go one of two ways. I had taken the youtube tour of the joint, so I knew in the play area there was large mix of semi-priave, to very open spaces. I wasn't sure if people were going to use the private areas more or the more public areas more. Turns out everyone was everywhere. There are a lot of mirrors which is really nice from a voyeur perspective, because I was able to watch people indirectly. This way you could kind of watch people closely without putting people off. From our point of view, we have a bit of a exhibitionist streak, sort of, so it's nice to know we could be being watched without really knowing for certain. Makes things much less awkward. It was like fucking in a fun house, a lot of the time I could see the reflection of someone, and couldn't tell if it was a reflection, or just them, or where they hell they actually where.
We find what turned out to be our favorite spot in the whole area. It's was a two full size bed cubby area, that had a one way mirror that you could see out of (kind of) but not into. We moved in there, and found that using the mirrors, we could watch the people in the next room slightly, as well as check out the action on the very public sex swing. People would sometime come around the corner and stick their head in, but we slowly started to make out, get naked, and had some awesome sex in there. Every once in a while someone would peak in and watch for a moment, and that was hot as well.
Nerves really did us in though. I probably went down on my wife for about an hour and a half though out the night, and she did not cum at any point during the night. I was also much slower to come, although I was pretty hard most of the night when I needed to be up to that point. However, I had a really intense orgasm and we were cuddling and checking out the view. There was plenty of room on the other side of this cubby for another couple if they wanted to come in. My main fantasy that started this for me was basically same room sex, and we had talked about if another couple wanted to come in we would totally let them go at the same time. We had sex for about 30-45 and I went down on my wife probably twice as long as that (it's hard to tell what time it is since there are no clock and cell phones are not allowed, a wrist watch will be an investment I make for the future) before I cum and we were in a spooning state. Not 5 fucking minutes later, I swear to god, another couple pops their heads looks at us for about 10 seconds relaxing, and asks if they can come join us.
My wife, kind of set things in motion the wrong way right off the bat. "Sure, come on in and join us, there is plenty of room beside us." I immediately realize the mistake, and go about to correct it. You see, my wife and I had agreed before the event that no mater what, we were not going to be touching anyone else tonight, or visa versa. Why invite drama the first night, even if we felt like we were ready the first night we would wait until at least the next time. The words that came out of my wife's mouth totally implied we were going to be down for just about anything. It only took me about 5 seconds to begin to correct the mistake as they crawled in with us. Paraphrasing, because it all happened so fast I don't remember the exact words but I said "Well actually, this is our first time, and we agreed to not get any further than same room sex"
These guys were pretty attractive, shorter hispanic guy, and either dark either hispanic or asian wife. Naked, and maybe a bit older than us. They looked immediately disappointed but they gave each other a look like "do we back out" but decided they would stay say they remember their first time, and that they are mostly softswingers, although they get right, like right next to us. I was already backed up against the wall, half hoping someone else might see it as an invite to get busy beside us, but they are in the middle of the room, and my back is up against the wall. Ahhhh.... So he starts to eat his wife out for a few minutes, and my wife is loving it, kissing me, watching them, they were nice to watch for sure. However, suddenly he asks if my wife wants to kiss his. She says yes, and then she looks at me like "please", and asks my permission. I'm slightly put off, we had agreed to not do this, but here we were. My own horneyness get the better of me though. I agree.
My wife has always claimed to be bi-curious, but has never acted on it. This was my wife's first lesbian kiss. It was pretty hot, and I have to say I didn't feel jealous or defensive. A little worried since this was already much further than I had planed things to go. But it was hot. HOT. Both wife's were obviously digging it. Dude asks if his wife can touch her, and again I get the "please" look from both of their eyes, and at this point I'm getting kind of excited so I think "fuck it". So they start to feel each other up. Awesome. She starts to suck on my wife's right nipple, I have my wife's left, mean while she is feeling my wife up. Although, I start to notice the dudes hand is on her too. As I mentioned, my wife had been having a really hard time cumming all night, so I'm trying to get her off with my hand, and I feel what I'm really sure is the dudes hand feeling her ass. It might not have been could have been the wife's, I couldn't really see, but it probably was.
I think about shutting things down, but I really want my wife to cum, and she is really digging things. I'm still not getting any jealous feelings, and I'm kind of grateful these guys came and started playing with us. I'm about 100% sure my wife has no idea this guys hands are on her, but I know if it's alright with me she won't mind. Things get more hot and heavy, and someone is fingering my wife while I play with her clit. I think it was the dude again, but I just go along with it, although I'm felling weird about it.
His wife is pretty close to me this whole time, her nipples brush up against my arm a few times, I have a free hand I could use to go over and touch her with, but we agreed on what we agreed on so I keep to myself. Still, she looks really good. In my head it feels more like a movie I'm watching, I honestly still have trouble when I think back and realize that it was me that was there. I didn't feel insecure, didn't feel nervous, it just felt awesome that they were there with us. I want more of that.
My wife cums, or at least I thought she might have. I asked her later and she said she did not. I've never known her to fake it, so thinking back I don't know exactly whey I thought we she did. We ended up setting up right next to each other to fuck our own ladies missionary. Only they still have me more or less pinned up against the wall. I don't really feel comfortable touching anyone other than my wife, so that's making me feel awkward again, and I'm pretty sure the guy keeps scooting over more. At one point I actually ask them to move over about "6 inches" and his wife keeps saying scoot over as well but he's not doing it.
Don't forget that I came pretty recently, like probably less than 10-15 minuets at this point. So, got damn it, I'm not hard. I give it a shot, we probably go for about a few minutes where my wife is trying to stroke me a bit, but the nerves got to me and his aggressive nature was getting to me. I was more or less expecting this to happen sometime during the night, but the mix of just cuming and nerves just wasn't working for me. I keep my calm though, and don't freak out. I more kind of fake it and try to keep calm do I don't scare away my boner any more. Plus no one wants to watch someone wine because they can't get hard, it's way less attractive than a flaccid penis is. Soon my wife, who notices my problem whispered the code word we had set up in advance to leave the situation and play room, and I sat up and thanked them, and said we needed to move on.
We head out of the play room, and check to make sure we are ok. Clean up a little, and go back to the night club area to decide what we want to do next. Naked women all over the night club area now, awesome again. We talk about what happened, I let my wife know that while I was disappointed we were not able to keep to ourselves like we planed it was super hot and something I really want to do again in the future. She was surprised that his hands were (probably) on her, but not upset.
We head back in, and I want to try something a little bit more public. We don't don anything other of note other than "pratice" be naked in more public areas, a fear of mine.
I'm not really getting hard again, and wouldn't for the rest of the night. Wife has really low stamina, not just in bed, but she normally goes to bed around 10:00, and it's at least 3:00am. She can hardly keep awake, but I really wanted to play one more time before we left somewhere in the club. She wasn't having any of it. She seems to have lost whatever was turning her on so much, and she says she wants to try to take a nap. We should have just left. But I'm amped up, unlike most humans, sex wakes me up rather than putting to me to sleep. Since couples can't be separate in the play area, I'm more or less chained to my wife who is trying to sleep, but I can't. It's making her cranky, it's making me cranky and bored, and we almost get into a fight. We get up and leave the club around 4:15 am. We talk about our experience all the way home, although my wife is super tired. We get home around 5:30am.
Here are a few random notes.
We ran into the couple we played with outside the play area. I thanked them again, he gave us his name, my wife gave him hers, but we didn't exchange anything else. I kind of had trouble looking them in the eye honestly. I wouldn't be opposed to playing again in the future, although I'm not sure if I would recognize them, I am REALLY bad with facial recognition. I can't be sure 100% sure the guy was overstepping his bounds, and honestly, his wife was super hot naked. But I think we may be able to find people who we like better, but it's really flattering to be asked.
We told our roommates we went to a rave.
My wife pre-gamed wth pot at home, but since it took an hour and a half to get there, she was mostly not high by the time we got there. She was sober all night.
The wife told me she want's to get a more active presence on SLS. So I'm going to be putting pictures up soon. She said she wants to host, which isn't really going to be an option as long as our roommates are still here I think.
I'm going to ask my wife to write up something as well. Writing this post really helped me organize all of my thoughts about the evening, so I would love to get her perspective as well, and give her the chance to organize her thoughts. She is very impulse, so I doubt I'll be able to talk her into doing any kind of reflection. I'm the over communicator of the relationship. (can't you tell?) I picked my username well.
So sorry about how long this is, so TL;DR We enjoyed our selves, went from outside our comfort zone, to way out of our comfort zone. Had a unexpected and sudden soft-swing experience that more or less defined our night. We want to go back, and my wife wants to start more actively looking for more coupled on SLS and wants to have more bisexual experiences. We still ended up almost getting into a fight, but managed to keep it together.
submitted by wordsarecheap to Swingers [link] [comments]