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User talk:Geyser/Test2: Difference between revisions
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;(SAID BY KONOKO ON [[User:Geyser/Test2#Page 1|Page 1]]) | ;(SAID BY KONOKO ON [[User:Geyser/Test2#Page 1|Page 1]]) | ||
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;[[User: | ;[[User:Guido|GC]] | ||
:[http://guido.oni2.net/ | :[http://guido.oni2.net/Oni%202%20-%20Music/Oni%202%20-%20Beginning%20Anew.mp3 HERE] you find an m4a file of mine. As the title says, it has something to share with that sentence of yours: "Konoko: Welcome to my collapsed moral universe." | ||
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; | ;AF | ||
:Credit for that line goes to a book I recently read. It's titled: [ | :Credit for that line goes to a book I recently read. It's titled: [https://web.archive.org/web/20040723224947/https://www.powells.com/cgi-bin/biblio?inkey=62-1400034639-0 War Is a Force That Gives Us Meaning], by former war correspondent [http://web.archive.org/web/20130310151925/http://www.pbs.org/wnet/religionandethics/week622/hedges.html Chris Hedges]. Quite a remarkable statement on both modern society and the human condition, and short [[wikt:to_boot|to boot]], so it's worth checking out. I've been pulling a lot out of it lately, honestly. | ||
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;[[User:Geyser|geyser]] | ;[[User:Geyser|geyser]] | ||
:Complementary reading/watching suggestions : | :Complementary reading/watching suggestions : | ||
:#[http://www.pbs.org/wnet/religionandethics/week622/hedges.html an interview with Chris Hedges] : best read before or ''instead'' of [ | :#[https://web.archive.org/web/20130310151925/http://www.pbs.org/wnet/religionandethics/week622/hedges.html an interview with Chris Hedges] : best read before or ''instead'' of [https://web.archive.org/web/20040723224947/https://www.powells.com/cgi-bin/biblio?inkey=62-1400034639-0 WIAFTGUM] (much shorter still, less "poetry" and pathos, and all the relevant points are there) | ||
:#[http://www.monochrom.at/amok/ Every Five Seconds an Inkjet Printer Dies Somewhere] : a short article trying to explain "pointless" massacres (running amok). A few considerations (primarily in the first half) are general enough to apply to war : public theater, some kind of heroism VS manifestation of evil (condemnation VS acceptance/glorification). | :#[https://web.archive.org/web/20200217020923/http://www.monochrom.at/amok/ Every Five Seconds an Inkjet Printer Dies Somewhere] : a short article trying to explain "pointless" massacres (running amok). A few considerations (primarily in the first half) are general enough to apply to war : public theater, some kind of heroism VS manifestation of evil (condemnation VS acceptance/glorification). | ||
:#Stanley Kubrick's [ | :#Stanley Kubrick's [https://www.imdb.com/title/tt0093058/ Full Metal Jacket]. Two memorable quotes : | ||
:##"Believe it or not, but under fire, Animal Mother can be a wonderful human being. All he needs is somebody throwing grenades at him 'til the end of his life." | :##"Believe it or not, but under fire, Animal Mother can be a wonderful human being. All he needs is somebody throwing grenades at him 'til the end of his life." | ||
:##and: | :##and: | ||
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:So, verbatim or not verbatim? | :So, verbatim or not verbatim? | ||
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; | ;AF | ||
:Not verbatim, different context, but probably recognizable. It works though. | :Not verbatim, different context, but probably recognizable. It works though. | ||
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:One thing to bear in mind about the medium is that unless you ''show'' Konoko talking, no one will know it's her. | :One thing to bear in mind about the medium is that unless you ''show'' Konoko talking, no one will know it's her. | ||
:In movies, the verbal message is complemented by the actual ''voice''. Here, an off-panel monologue has the text as its only support. | :In movies, the verbal message is complemented by the actual ''voice''. Here, an off-panel monologue has the text as its only support. | ||
:That | :That can be a drawback, but also a powerful means to achieve ambiguity. Does the narrator ''have'' to be Konoko? Food for thought... | ||
:For the same reason, androgynous characters work out nicely on paper : no disambiguation through voice. | :For the same reason, androgynous characters work out nicely on paper : no disambiguation through voice. | ||
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;[[User:Geyser|geyser]] | ;[[User:Geyser|geyser]] | ||
:Another idea : if you want to show a desolated landscape (wasteland, destroyed [[ACC]]s, dead cities), you can introduce Konoko ''gliding over it rather than walking through it''. | :Another idea : if you want to show a desolated landscape (wasteland, destroyed [[ACC]]s, dead cities), you can introduce Konoko ''gliding over it rather than walking through it''. | ||
:With her {{C7}} glider. Reminiscent (of course) of Miyazaki's Nausicaä, but also of [[Lorraine]] Reyes McLees, [http://aerie.geofront.com/ whose homepage] was named after [http://nausicaa.wanfear.com/graphics/frontfly.jpg Nausicaa's Mehve]. | :With her {{C7}} glider. Reminiscent (of course) of Miyazaki's Nausicaä, but also of [[Lorraine]] Reyes McLees, [http://web.archive.org/web/20231101012943/http://www.aerie.geofront.com/ whose homepage] was named after [http://web.archive.org/web/20061205231725/http://nausicaa.wanfear.com:80/graphics/frontfly.jpg Nausicaa's Mehve]. | ||
http://geyser.oni2.net/oni2/misc/morpho.jpg | http://geyser.oni2.net/oni2/misc/morpho.jpg | ||
:That sequence can be a semi-flashback dream of Mai's (the story would start when she wakes up). Thus some details can be surreal : her glider, for instance, can stay in the air for longer than "expected". | ;AF | ||
:As for Nausicaa, check out [https://www.viz.com/nausicaa-of-the-valley-of-the-wind Miyazaki's comic] as well if you can -- I liked it more, but it'll be harder (''looks like I can order it online. [[User:Geyser|geyser]]'') (and more expensive (''For 70 bucks. [[User:Geyser|geyser]]'')) to get ahold of. | |||
;[[User:Geyser|geyser]] | |||
:I went to a rather large [https://www.animenewsnetwork.com/news/2004-07-13/miyazaki-expos-around-the-world Miyazaki-Moebius exhibition] (Flash site [http://web.archive.org/web/20200611015324/http://miyazaki-moebius.com/ HERE]) in Paris, (February/March 2005) : quite inspiring too. | |||
;[[User:Guido|GC]] | |||
:[http://www.comicbox.co.jp/e-nau/e-nau.html I Understand NAUSICAA a Bit More than I Did a Little While Ago] (a long interview with Miyazaki about Nausicaä's universe and characters) (BTW, there's ''war'' in Nausicaä, too... [[User:Geyser|geyser]]) | |||
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;[[User:Geyser|geyser]] | |||
:That gliding sequence can be a semi-flashback (day)dream of Mai's (the story would start when she wakes up). Thus some details can be surreal : her glider, for instance, can stay in the air for longer than "expected". | |||
:Landing at the end... or not. Also, the picture of destruction can be exaggerated, or echoing other post-apocalyptic references (e.g. in manga). Various dream-friendly artistic effects, too. | :Landing at the end... or not. Also, the picture of destruction can be exaggerated, or echoing other post-apocalyptic references (e.g. in manga). Various dream-friendly artistic effects, too. | ||
:If the narrative covers the skipped period in time (e.g. four years), then you don't even need to put a note saying "FOUR YEARS LATER". | |||
:As for the smooth transition from one narrator to the other, [[User_talk:Geyser/Test#Wucraft|Avatar's plane]] can be shown flying away into no man's land at first, shrink to a tiny winged speck in the distance, and then come back as a gliding Konoko. | :As for the smooth transition from one narrator to the other, [[User_talk:Geyser/Test#Wucraft|Avatar's plane]] can be shown flying away into no man's land at first, shrink to a tiny winged speck in the distance, and then come back as a gliding Konoko. | ||
;[[User:Geyser|geyser]] | |||
:As for the landscape over which she'd glide, I'd suggest a snow-covered wasteland (acid/toxic snow, anybody?). Then again, since a 4-year fast-forward is covered by the scene, different seasons can be pictured : spring/summer/autumn would be even closer to Nausicaä's universe (see [[Wilderness Preserve]]). | |||
:The time scale can thus be distorted, similarly to the way (day)dreams are experienced : the whole (day)dream/nightmare seems to be played back super-fast at the moment you wake up. | |||
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