The Other Side of the Looking Glass @rosethorburn - Tumblr Blog

goofmuffin

Jenni Laakso, 1998

cosmicanger

Nick Knight: ‘War’ (1997)

nobrashfestivity

Jacob Lawrence Pool Parlor

jareckiworld

Paul Wunderlich (1927-2010) — "Old Man in Love" After Lucas Cranach [oil on canvas, 1990]

neomedievalist

You're a bad person if you like media that is "fun" or "enjoyable".

jareckiworld

Lennart Segerstråle (1892-1975) — Funeral of Violence [oil, canvas, 1973]

thegrovetender

mandi-bul

Knight

drysqu1d

i tend to avoid discourse because most of it is trite and pointless but just this once i feel like i need to state my opinion: i think everyone should bend to my dark and evil will

gogopri-deactivated20241226

Thinking about how Yukari occasionally visits the outside world

I've been reading some Eisenstein and have begun to realize just how lacking visual novels are in terms of utilizing the concept of montage. This is despite the fact that the medium is basically just montage (with a lot of words) and so many of the same ideas apply. I can think of only a handful of visual novels which go beyond the bare minimum. It is a format in its infancy, and one that never had a fraction of the attention film did; So, it's to be expected. But perhaps someday someone will actually create a good visual novel.

#obviously a lot of concepts of montage apply to video games in general #considering the 'video' part #but in no other genre is the camera so tightly controlled as a visual novel #rose petals

askebos

“Stop thinking about saving your fragile face. Tell us your particularized world. Make up a story. Narrative is radical, creating us at the very moment it is being created. We will not blame you if your reach exceeds your grasp. We will not blame you if your words go down in flames and nothing is left but the raw-scald. We will not blame you if, with the reticence of a surgeon’s hands, your words suture only the red places where blood might flow. We will not blame you because we know you can never do it properly: once and for all. Passion is never enough. Talent is never enough. Skill is never enough. But try. For our sake and yours. So. Forget your name in the street; tell us what the world has been to you in the dark places and in the light. Don’t tell us what to believe, what to fear. Show us belief’s wide skirt and the stitch that unravels fear’s caul. You, so blessed with occasional blindness, can speak the language that tells us what only language can: how to see without pictures. We tell ourselves stories in order to live.”

— Toni Morrison, The Nobel Lecture In Literature, 1993

feignedremote

This is partially misquoted; the correct text is at this link. Here is the actual passage, though the whole thing is worth a read (the context of the passage is a fable wherein a group of young people are questioning an old wise woman; in the allegory Morrison creates the young people are demanding answers and firm guidance from this old master of language, who they suspect to be a fraud):

Stop thinking about saving your face. Think of our lives and tell us your particularized world. Make up a story. Narrative is radical, creating us at the very moment it is being created. We will not blame you if your reach exceeds your grasp; if love so ignites your words they go down in flames and nothing is left but their scald. Or if, with the reticence of a surgeon’s hands, your words suture only the places where blood might flow. We know you can never do it properly – once and for all. Passion is never enough; neither is skill. But try. For our sake and yours forget your name in the street; tell us what the world has been to you in the dark places and in the light. Don’t tell us what to believe, what to fear. Show us belief’s wide skirt and the stitch that unravels fear’s caul. You, old woman, blessed with blindness, can speak the language that tells us what only language can: how to see without pictures. Language alone protects us from the scariness of things with no names. Language alone is meditation.