Reading List

To be read -

1. Interstellar: The Complete Screenplay with Selected Storyboards by Christopher Nolan
2. Creativity, Inc.  by Ed Catmull
3. Steal Like an Artist by Austin Kleon
4. Framed Ink by Marcos Mateu-Mestre
5. The Human Age by Diane Ackerman
6. The Accidental Universe by Alan Lightman
7. Bone by Jeff Smith
8. Tuf Voyaging by George R.R. Martin
9. The 5th Wave by Rick Yancey
10. The Shade of the Moon by Susan B. Pfeffer

In progress - The Martian by Andy Weir

Dump Trump

Out of all of the photographs of Donald Trump that I could choose from, this is one that I feel does a good job of representing him an individual.

Just look. Does he look like the compassionate, genuine, and well-intentioned individual that you'd like running our country? I doubt it. It looks more like someone who cares more about themselves than the greater good, and isn't afraid to push people down to get what they want. The image isn't manipulated, but rather captured a moment that shows what I think is simply a combination of stubbornness, hate, and force. Does he look like he believes in what he's talking about? Definitely. Does it look like whatever he is saying he has taken into careful consideration and weighed different opinions on, while trying to remain professional and open to better suggestions? Nope.

The fact that Trump has been gaining grounds, and is a potential front runner for the Republican party, frankly, is terrifying. If we want to progress as a country, the last thing we need is a man whose solution to problems is building a giant wall around the country and kick out anyone who doesn't seem "American" enough. A lot of people seem to forget that America was founded on immigration... a country open to those who seek freedom and the American dream. But that's beside the point, right?

As an Internet meme, I feel this image shows how most of us feel when we think of Donald Trump. He seems like a joke, one that we couldn't see being taken seriously. But his ignorance and the trail of problems that that brings is often overshadowed by the fact that he "speaks his mind" and, well, the very insensitive things he speaks his mind about are unfortunately still on the minds of many other people who choose to stand behind him.

To those that dislike him, he is a joke, but it's a joke that thousands of people are starting to take very, very seriously.

Director Spotlight - Tom Tykwer

When asked to watch three films by the same director, I chose to look into Tom Tykwer’s work. Out of his films, I chose to watch Cloud Atlas, and Paris, Je’Taime (even though he only directed one segment of this particular film), and Run Lola Run.  Cloud Atlas was the first film of his that I viewed, and I have to say it was not the experience that I expected (although that is certainly not a bad thing)! It set the stage well for the feeling that the rest of his work would convey.

I feel that the most prominent recurring element in each film is their theme of connectedness between the past, present and future. Cloud Atlas consisted of many different storylines - taking place at very different periods of time. What tied these together, although not apparent until small recurring elements were revealed as each individual plot progressed, was how one person’s actions, whether significant or seemingly minor, linked each character to another in some way, shape or form. Adam Ewing’s journal was read by Robert, the composer of “Cloud Atlas”. His letters to his lover, Rufus, were in turn read by the reporter Luisa Rey after a now much older Rufus is killed. She also goes to a record store and hears the Cloud Atlas sextet. The book that Luisa Rey writes about her ordeals with the nuclear power scandal is read by Timothy Cavendish. The film created about his life is watched by Sonmi after she escapes the diner. And lastly, Zachry watches Sonmi’s final video message, after she had essentially become a deity figure to his people. What ties these together further is the implication that they are all reincarnations of each other (shown by a very specific birthmark found somewhere on each individual).  What seems to be a very confusing and unrelated construction of multiple storylines at first turns out to be a comment on how everything is connected, and even the smallest of actions can alter the paths of events to follow.

Run Lola Run is also a good example of this, because the film itself consists of three separate versions of the same story, all influenced by altering small elements. What seems like the most insignificant action, such as whether she is tripped by a man with a dog, runs past them, or runs faster because of them, sets off a chain of other small events that in turn influence the event in a greater way as a whole and lead to significantly different endings, such as Lola’s death, Manni being hit by an ambulance, or the acquisition of even more money and avoiding death altogether. Even passersbys can be seen with altered futures due to changing events. 

Tykwer’s piece in Paris, Je’Taime, which centered on a blind man’s relationship with his actress girlfriend, also plays on this theme, although in a much smaller and less critical way.  The man’s shortcut leads to the woman getting to her audition on time, and this small action leads their lives to progress together from that point on. His perception of the collective experiences of the relationship leads us to his train of thought when he receives a misleading phone call from her and shows us in a very short period of time the rise and downfall of a relationship.

Another important theme of Tykwer’s films is that although everything is connected through action, each story is extremely character-centric. We get up close to each individual’s own experience, and in turn learn that every individual’s story is both significant and extremely unique in it’s own way. Relationships are also prominent element in almost every storyline.  Paris Je’Taime  was based solely on the experience of a relationship, Cloud Atlas payed close attention to relationships in each of it’s separate time periods, and Run Lola Run is in itself the result of the consequences of being in a particular a relationship.

There are other recurring elements of Tykwer’s films, but I feel that these are the most prominent. Each piece seemed to center on tense and uncomfortable emotions, capturing the raw uncertainty of life. The actions and experiences of individuals were shown to be greater than the individuals themselves. All in all, it seems to be less about clarity and more about showing the connectedness and importance of every action, and conveying a train of thought rather than a straight-forward plot.

Voice

I've found over the past few years that my artistic voice is constantly changing and adapting as I develop new skills and am exposed to new sources of art and media. If anything, my voice has become less stable since I've come to Ringling, because the range of work that I complete is much wider than what I had limited myself to prior to this experience. What I can say about my voice however, is that I gravitate away from reality and towards more fictional, fantasy works that allow for opportunities to introduce new worlds and create interesting stories. Storytelling is a key element of the computer animation major, and this aspect has led me to question everything I make with "what is the story behind this?". A lot of my work tends to lead towards fantasy and science fiction. It ranges from straight-up humor to very serious, and my work occasionally has darker undertones. There is a lot of flexibility and contrast in the type of characters I create and the worlds they inhabit. I don't want to limit myself, as I am still growing artistically and have not yet found a specific niche to fall into. The work that I complete for classes does not necessarily reflect my personal work, and vice versa. 

Overall, I'd like to say that my voice is one of fantastical worlds and unique characters that viewers can relate to in some way. I like to go beyond reality, and apply deeper meanings to my stories whenever possible. 

Asterios Polyp

Reading graphic novels has always been an interest of mine that I have not had much time to really dive into, so I was very excited to read Asterios Polyp by David Mazzucchelli, and I was not left disappointed. Asterios Polyp’s storyline drew me into a new world that was both foreign and familiar at the same time. I know very little about architecture and fine art, but I still felt connected to the characters and could relate to them on a level that went past outward qualities and resonated more on a level of the human experience. I feel that the significance of the human experience is something that is very prominently reflected in Mazzucchelli’s voice.

Overall, his writing had a lyrical, poetic quality. I feel that this lent to his voice, as it seemed to reflect the interconnectedness of the world that stitched the story together. This interconnectedness is weaved throughout the story, with even the tiniest elements often playing more significant roles at a later time, or an acquaintance, such as the man Asterios met on the bus and gifted his father’s lighter to, returning in an unexpected way (in this case, drunkenly punching Asterios in the face and getting him hospitalized). In a way, this did more than simply show that the world connects in various ways, but that nothing is ever straightforward, and a good deed isn’t always returned. Just as the woman driving the car when Asterios pulled a cat from the wheel hub just to see it run away would say - “That’s gratitude for ‘ya”.

Mazzucchelli’s voice was not one of straightforward, factual information like the though process of Asterios whom we was writing of.  There was a constant reflection; continuous nods to the past and the future and the malleable perception of the world and reality. His voice was contemplative and wise in that it admitted that human faults are a part of life and that change is possible, or in the very least subject to compromise.

To me, the most characteristic element of his voice was his emphasis on individual experience. Although Asterios was the focus of the graphic novel, Mazzucchelli made if very clear just how important every human interaction was, and how each and every moment of time is important in it’s own way. I feel that this element was most clearly shown through visual aspects. Often, Mazzuchelli would illustrate characters as reflections of differing perceptions of reality. For example, Asterios would be drawn in a blocky, straight, streamlined manner while Hana would be drawn in a softer, fuller, and more complex crosshatching.  These artistic separations occurred most often at times when characters would withdraw into themselves, usually in moments of tension or confrontation.

I feel that through this, Mazzucchelli is illustrating how it is important to consider that what is reality to you is different from the reality of another, as well as the concept of reality being the combination of multiple perceptions. Thus, limiting oneself to their own perception will yield no productive results. When opening up to the thoughts and ideas of each other, such as after hearing his reasoning behind the cameras in his bedroom, Asterios and Hana are able to once again visually return to normalcy.

Mazzucchelli’s voice is also full of satirical commentary and metaphor – taking note of all of the contradictions of the world and the less than optimal aspects of the human experience. These elements are often represented is a combination of dialogue to visual symbolism, such as Hana’s discussion of not wanting to force her cat to eat a vegetarian diet when it is not natural, with a direct transition to Asterios’s father essentially being force fed, or even subtle details like the “I still miss my ex but my aim is improving” bumper sticker opposite a Christian symbol on the back of a car.

There are many more qualities of Mazzucchelli’s voice that could be discussed from both a visual and content standpoint. Everything from the shapes of the speech bubbles to the changing drawing styles to minute contradictory details and reoccurring elements all seemed to play a role in conveying his take on the world as we know it. Ultimately, his voice reflects that the world is a malleable, changing place, the collective work of countless changing perceptions and minute yet incredibly important actions. 

Assessment - Professor Incognito Apologizes

1. Are there any prominent symbols in the story? If so, what are they and how are they used?

I feel that the most prominent symbol of this short story are the costumes described. These costumes not only set the characters apart from the "normal" individual, but they represent the hidden sides that any person can be hiding. This "secret self" is what grounds the story, and represents more than just the obvious break between the character's normal life and secret life, but rather the break between their relationship. Their relationship struggled, and I feel that the discussion of needing a costume to differentiate the multiple "selves" also is a comment on how lack of full transparency can lead to ill situations and broken relationships. I feel that Suzanne herself could be considered a symbol as well. A symbol of normalcy - the element that Professor Incognito considered to be part his reasonable, public self. Of course, this symbol of normalcy is shattered by the end of the letter when he recalls his discovery - that she indeed did have her own secret self. And so, the shattering of the normalcy associated with Suzanne marks the beginning of the shattering of any sort of normalcy the Earth still may have.

2. What connections did you make with the story? Discuss the elements of the work with which you were able to connect.

Having been in an ongoing relationship for the past 5 years, I was definitely able to connect with the trials of the relationship described (although, thankfully, the characters have had a much more rocky time than I ever have). Still, I understood many of the pains and joys that were discussed along similar lines, such as the struggles of communication and the simple bliss of having someone to be with. I feel that everyone can relate to the concept of one having a "hidden self" to some extent. Although we may not go so far as to becoming a super-villain behind a loved one's back, everyone has a side of themselves that they reserve for themselves alone. This personal self does not necessarily have to stray far from one's public image - it can be as simple of how you hold yourself when nobody else is around, or how you act with a group of friends as opposed to your parents. By taking this concept to an extreme, the story did a good job at pointing out that even those we think we know wholly and truly will have their own hidden side.

3. What changes would you make to adapt this story into another medium? What medium would you use? What changes would you make.

If I was to adapt this story into another medium, I feel that film would be a good choice. The story, although a list of past events and thoughts, came across as very visual to me even though in theory it is being viewed from one location - the lab, by Suzanne. To give the film more opportunities for expression, beyond the introduction I would rely heavily on flashback scenes for each aspect of the list. This would allow us a greater connection to the characters, and intensify the situation by actually showing us the multiple selves of Professor Incognito. To introduce the flashbacks, narration could be used, but eventually that would fade as the examples progress visually and no longer need explanation, but rather elicit the emotions I wished to convey - such as the tension between the two characters not speaking in the car, or taking notice subtle costume elements that Suzanne notices before entering the lab. Professor Incognito's concept of the future could be visualized, as well as the outcomes that Suzanne's choices could lead to. An opportunity could even be taken to provide the end result, which perhaps, and very likely, would have differed from Incognito's described visions of his rise to power.

After reading both Vampires in the Lemon Grove and Sleep Donation, I feel that the tone of Karen Russell’s writing has become much clearer to me. I very much enjoyed both works, and there are a few characteristics that begin to stand out both during and after reading them.

It is possible that it was not her intention, but I have found that both of her writings displayed a tone of stress, worry, and contemplation. Nothing felt resolute, and the constant state of anxiety on different levels that was stressed in the writing tone made the stories feel that much more real. An attention to detail pushed this even further, but more often than not the detail was in terms of how a particular action elicited certain emotions: how biting into the lemon could not truly satisfy the vampire cravings, how being inside the sleep van made Trish uncomfortable during a donation. The characters questioned themselves constantly, but it was the questioning tone that made us as readers really feel like they did. The voices of the characters are not considered the voice of the author, but there was a connection nonetheless. Amongst all of this seriousness though, her writing is also satirical in some aspects – it has a sharp, “biting” quality that reflects on the issues faces by humanity (or rather, inhumanity but with human qualities in Vampires in the Lemon Grove), without mercy.

When looking towards endings, neither story’s conclusion would be deemed a “happy solution”. Both felt unresolved and contemplative. Russell was not looking to simply guide us to the end of a story, but rather to get a sense for the particular emotions that were emphasized in each piece, whether that be the discontent weaved throughout Vampires in the Lemon Grove, or the guilt and apprehension attempting to hide under confidence in Sleep Donation. The stories seem not to be so much about the characters as they are about the emotions they are overwhelmed with.

In Sleep Donation, Trish is riddled with guilt no matter which way she turns: guilt for using her dead sister’s story as a pitch, guilt for keeping secrets about the illegal exchange of Baby A’s sleep, and of course the guilt of knowing that lives could be lost if she lets her guilt from the former influence her future actions. In conclusion, the situation is not fully resolved, but Trish is able to finally do what she feels is the right thing, whether it truly is in the grand scheme of things or not. Russell’s tone adds to this by bringing into the picture a question of what is worth more – the life of one or the life of many. It allows us to contemplate everything rather than be presented with straightforward facts to simply be accepted.

The tone of Russell’s writing is not just influenced by latching onto particular emotions, however that seems to be the most critical element. Her writing is also very poetic, and she tends to utilize metaphor in her work. This creates a wonderful lyrical reading experience, while still staying true to the emotions of importance and retaining the cutting, reflective qualities.

On a more personal note, I’m very interested in reading the rest of the stories in the Vampires in the Lemon Grove collection. Her story Swamplandia is also going to be added to my list of future reads. I had never been one to read works with such open endings, and although that has it’s own frustrations, I find that it adds a final poetic element to each piece and forces you to contemplate the overall meaning of each work rather than feeling inherently satisfied with a provided ending. I’d like to expose myself to more work of this nature, and hopefully doing so will help me think more critically about the greater significance of writing rather than the straightforward linear elements that usually come to my focus.

Ready Player One - Virtual Reality

 ENTERS CLEARING.

The user exits the forest sequence, and steps into a clearing. This clearing is comprised of a hill, which is decorated with twelve large black stones arranged in in the pattern of a skull.

A map appears in the upper right corner of the screen. The player uses this map as a guide to reach a specified location. In order to do so, they climb atop the hill, and then slowly descend down a cliff face onto an outward ledge. The user is then instructed to utilize their shield as a shovel. The dirt is set aside to reveal a dark tunnel leading underground. The floor of the tunnel is comprised of a mosaic of colorful stones and red tiles. They step inside.

  ENTERS TOMB OF HORRORS.

A new map appears in the upper right corner to guide the player through the Tomb of Horrors. The tomb is very dark. To see, the user must equip their flashlight.

The flashlight creates a circular area of light; only illuminating what it is pointed at. In the areas of vision, the user can see that the walls are dotted with paintings depicting various creatures, such as elves and orcs.

Using the map’s markers as a guide, the user must avoid hidden trap doors in the floor. If they happen to activate one, they plunge down into darkness and return back to their most recent checkpoint.

The tomb holds various rewards for the optional searching of different areas, such as magic items and coins. Searching for these items also runs the risk of encountering enemy creatures that lurk in the darkest areas and guard the most prominent prizes. In the event of being confronted by one, the user is given a brief warning to allow them to equip their weapons, and then must deliver a number of hits in a slow-motion sequence.

The user must pass through six separate rooms before entering the final dungeon. Each room is unique in size, shape, and contents. All rooms have the appearance of being worn down, with the quiet dripping of water from leaks, and crumbling walls and artifacts. The occasional growl or scuttle alerts the user of potential enemies. The sound of a quiet, eerie wind echoes through the corridors between rooms. Upon reaching the final chamber, the entrance is a pitch black void. Nothing is visible until stepping through.

ENTERS FINAL CHAMBER.

The user enters a large square chamber. It is lit by torches, and requires no flashlight to view. The ceiling is high, and the room is filled with massive stone columns. A raised dais stands at the far end of the room. An obsidian throne inlaid with silver and ivory skulls sit atop of it. In the throne sits Acerarak, the demi-lich. A dusty gold crown glints on his head. His skin is withered. His teeth consisted of pointed cut diamonds arranged in a lipless grin. His eyes were large rubies.

When the player approaches the steps of the dais, a cracking sound echoes through the chamber.

Acerarak lifts his head. His ruby eyes glow, and he begins to speak.

BEGIN ACERARAK SEQUENCE.

The Brief Wondrous Life of Oscar Wao - The Ethos of a World

In last week’s class, we discussed various questions that dived into the art of world building. Having read The Brief Wondrous Life of Oscar Wao, one of the questions stuck out to me:

What is the world’s ethos (the guiding beliefs or ideals that characterize the world)? 

This particular question struck me as important, because the ethos of the world that Junot Diaz had spun was both very similar and very different from that of my own world. To start, the ethos of this world seemed to revolve around doing whatever is necessary for success. Masculinity, taking what is “rightfully yours” and emitting a sense of power and influence seemed to be the key elements of finding one’s ideal self. At the very least, one should try to find their place in the world, and accept it as it is. Characters were expected to conform to society’s expectations – and when they broke out of those boundaries, bad things followed.

Find a girl. Man up. Don’t associate with those that are undesirable (Ybon). Do as your told. Don’t attempt to stand up to those that are more dangerous than you (Trujillo).  Conform, conform, conform. It’s a strange balancing act of acting tough enough to assert yourself and submitting enough to keep yourself out of harm’s way.

It is the conformity that I find doesn’t fit into my current world’s ethos. Here, people are prized for sticking out and doing everything that they can to differentiate themselves as artists. In Junot Diaz’s world, sticking out meant being lonely, getting sent to prison, being beaten and of course, getting murdered.

Oscar did not fit into the masculine and outgoing standard that his world had set for him, and thus he was out of place, and therein the story lies. Beli chose to be involved with men who were no good for her rather than heeding the warnings of La Inca, and thus she experienced suffering for her own inability to conform.

What I can relate to is the need to find one’s “proper” place. Past conforming to society standards out of fear of repercussions, or trying your hardest to stick out for the sake of the spotlight, at the end of the day both Diaz’s world and my own expect you to settle down and find your place in the world that is the path of least resistance. 

Lola was shunned for taking chances, traveling and making “questionable” decisions. No good was to come of Beli’s risky relationships. Had either of them made what the ethos of the world would deem reasonable, safer life choices (of which their family would have also agreed with), and found nice, honest men, didn’t bicker with or embarrass their family, and lived the lives others expected of them, their paths would have been less rocky.

The characters themselves may have their own individual ethos that they live by, but I believe that all things considered, the world as a while consists of an ethos that idealizes the things that most of the characters are not. Had this not been the case, Oscar’s far less than masculine, nerdy ways would not have brought upon him the problems he was bound to face, and the story itself would not have been able to provide the struggles that make up its very core. The characters recognize the ethos of the world. Some try to work towards it and wish they had become what the world expected them to be. Others resist, working against the grain, desperate to find themselves through the act of rebellion.