#ALSO many reasons a greek chorus is Not like a lawyer but then. are they the witnesses or the jury or both | Explore Tumblr Posts and Blogs

tentatechnologies · 1 year

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but legitimately, that variation in attitude, in treatment of a character as an autonomous being vs as a piece of machinery in a story, is kind of at the heart of marlo and sprite's whole things both related and unrelated to each other. like, let me put it this way: marlo understands themself to have a fixed end. (not a lack of free will, but a sword to fall on in the end; in so many words, they know they're going to hell. that's the reason they don't bother to improve, their own resignation to their untimely demise's what leads to it, marlo's dogmatism is what ultimately kills them, character is fate, etc., that's what we're talking about here.) to be shown that their life is a story with an author, is confirmation of fate in the most literal sense. it would be not quite a relief to them, but justification. marlo is a cautionary tale. marlo wants to tell a story with a lesson at the end, and so creates casualties, and has therefore achieved what they set out to do. their personal suffering is secondary; they'd be secure in their martyrdom.

but, sprite in-universe and sprite as-representation are also two different things. sprite affects the latter in the former but the former is not always pertinent to the latter, squares and rectangles. if anything sprite is the lens through which we interpret the fictional universe and specifically its infinite potential. marlo is the OUTLIER in assuming their fate is fixed. it is that conviction which dooms them, because if they recognized their own power to physically yank the course of their life off its tracks and do something else about it, they could...make the difference. they'd end up written differently. but sprite is the structure—the authorial intent, the translation, the ludonarrative. they are the mechanism of how the story turns, the way it is told. "how is a greek chorus like a lawyer? they're both in the business of searching for a precedent [...] so as to be able to say this terrible thing we're witnessing now is not unique [...] we're not at a loss for how to think about this." by existing like so sprite codifies the story, narrows all that potential into one outcome.

that's not the conclusion to this post (well, line of thinking, i'm rambling at length) but it's 2 AM so i'll, like, wrap this up at a later date.

#oc posting

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smuthuttpodcast · 4 years

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Name/Handle/Alias

rlogarbagech1

About how long would you say you’ve been rooting for Reylo?

I tend to dive into things intensively, so while I knew there was an intriguing dynamic to Rey and Kylo's TFA interaction and I enjoyed what was teased in TLJ when it came out, I think it was a random wading into Reylo fanfic circa Aug 2019 that really got me into the fandom in a deep way. (Throwback to me thinking: eh maybe I'll give Reylo oneshots a try? And BOOM four months later I'm in a daze wondering how I've read like 80 fics, ended up in a writing discord - shoutout to The Writing Den! - and have five stories cooking in my head at one time.)

I like that the fandom takes what was on film in TLJ and expands the contours of that universe, stretching it into all sorts of configurations that somehow still made sense thematically for what Rey and Ben were going through. Whether that's in the context of warring lawyers (eversoreylo), Kyril Ren and Irena (voicedimplosives), archaeology Rey and Ben (disasterisms), a Harry met Sally AU (slipgoingunder), or Canadian politics (saint_heretical)... the creativity of the fandom and how it grapples with SW themes through all these different lenses of interpretation blows my mind. IMO it shows how SW's story themes can be individually interpreted, yet utterly universal.

What did you think of the way Rise of Skywalker handled Rey and Kylo’s relationship?

It felt like a backstep/retcon to what had happened in TLJ. I think CT and JJ wanted to make certain narrative choices but couldn't fully commit to them for whatever reasons, and the story suffered overall in a big way 'cus of that.

TRoS clearly went into the enemies -> lovers arc but leaned way too far into 'enemies', making the arc to 'lovers' within 2.5 hours way very weirdly paced, so it didn't feel like it was earned. The reaction of the audiences I was in for both screenings validated that. At the first screening, there was awkward laughter because it felt so left-field in the context of the film. In the second screening, the GA people I was watching it with felt 'this is really unnecessary' which I can understand because of the lack of buildup in TRoS to that moment.

Reylo in TLJ was at its best because there was time for it to breathe. I rewatch the force skype scenes often and the complete silence, the subtle acting, and the framing of those scenes, is so unusual and bold for a blockbuster at that level. There was also so much gorgeous subtext in what was going on, you could read into it what you liked, but there was definitely an attraction or a pull there for both characters.

You could tell that Adam and Daisy were delivering equally layered acting work in 9, but it was extremely rushed and weirdly edited. The ensemble could also have been a greek chorus for the audience/a bellwether for how we should be feeling towards Rey and Kylo in 9 but they didn't really utilise them that way and Palpatine ended up overshadowing the entire story as the big bad. The more interesting choice obviously was Kylo as the conflicted big bad and a redemption arc, but maybe Disney just isn't ok with that or was pushing for a different direction.

Overall, 9 made me wish we had more time to live in the push-pull dynamic between these two characters and the longing they have for each other despite all the odds, but luckily we have fanfic and art for that, which is why it's so great. Just a shame the film couldn't line those pieces up well enough for a satisfying landing.

Do you think the film understood why you, and other people, felt like Rey and Kylo had something together? Did it get their chemistry?

I'm sure they understood it on some surface level but CT was the wrong person to write that story imo. And JJ on some level disliked RJ's choices so he was trying to wind it back to the TFA dynamic which was more enemies-enemies with a subtext of them being compelled by each other, but not necessarily with a romantic resolution.

I think it's testament to the intelligence of the fandom that we saw the train tracks being laid in ep8 for a more interesting ending, just that whatever story-wrestling/behind the scenes drama/ego was going on at DLF meant nobody was able to actually able to execute that story with the justice it deserved. Locking out the story group also seems like a huge mistake and would've avoided a lot of the larger plot holes they seem to have ended up with, the dissatisfying Reylo arc in ep9 being just one symptom of it.

What about the handling of Kylo’s redemption? Was it something you had to think through in your stories?

How I envision Kylo/Ben's redemption and Rey's response to it is summarised by a lot of the fic that's already out there! And in the fanfic thread I've pinned on my Twitter. e.g. Starstuff by voicedimplosives, Morning by disasterisms, Astrometric Binaries by pontmercy44, Tactical Surrender by Trebia... there are a lot of ways it could have gone. A recent comic (08 Jan?) by Miss Bliss is also a great example and she distilled it down to 15 simple panels, not to say she simplified the ethics of the redemption arc of course.

The biggest effect that TRoS had on me as an aspiring creator/writer is because the film DIDN'T give me the redemption arc, I'm interested to explore how that looks like in fanfic. So maybe that will become a theme in my writing. Let's see!

I'm still laughing about how they yeeted Ben into the pit though. Can't believe those leaks were actually true.

What did you think of where Rey landed at the end? There had been a lot of excitement around Star Wars having a female protagonist. Do you think she lived up to the promise of her character?

A lot of the discourse has already covered this but my take is: in TLJ Rey was the centre of the story, all of her actions were driving the plot and it was a female-centric story about incredible themes like self-discovery, belonging, loyalty, 'lightness', 'darkness', attraction, sexuality. And TLJ was very nuanced in presenting how Rey's role shaped the overall story, the symbolism in the film (all of which had meaning or at least tried to), and her clear growth through it.

With TRoS it felt like her needs took a backseat and were kind of ancillary to the action of what was happening. Or that she was a lot more of a passenger to the story. I guess that's how I would sum it up. If I think back to how TRoS ended I don't think there was a satisfactory character conclusion for ANY of them... and don't even get me started on how they did Rose completely dirty.

There’s criticism of the movie that argues it’s akin to “fan fiction” and that is has too much fan service. As fans and fan-fiction writers, how do you react to that?

It doesn't actually bother me that much. I think it comes from a place of negative stereotyping and misunderstanding of what fandom is all about, especially for the Reylo community – because apparently believing in romance, redemption, and love is meaningless, simple, and weak.

The people that are in the fandom and know it well know that the fandom has a lot of diverse views in it, different perspectives, and some of the most startlingly intelligent and thoughtful people across the spectrum including creators, readers, analysts, community organisers etc.

The fact that there's a WHOLE ECOSYSTEM with fanfic and fan art and discord servers and gift exchanges and comedy memes and metas and all of this stuff just enhances my enjoyment of it overall. And it's an ecosystem that despite critics' attempts to dismiss it since 2015, continues to thrive.

I challenge those skeptics to look at some of the novel-length Reylo work on Ao3, the detailed sketches and concept art, the hours of thoughtful podcasting and REVIEWS OF FANFIC and say this community's not worthy of credit or attention. Even if you don't like Reylo, there's a discussion worth having about why people want to engage with it on a deep level and the transformative work that's come out of it.

We are doing this for free. Out of enjoyment and fun and discovering meaning. The level of artistry and engagement in this fandom is really astounding in that way.

I wish people would talk more about *that* side of the Reylo fandom rather than dismissing it as 'fluffy romance 50 shades in space y'all are rabid crazy' or whatever.

TLDR the question of whether Rey and Kylo have/had toxic and abusive dynamics is an interesting one to ask and we need to continue having the discussion, because from my POV it wasn't 100% clear cut from TFA, and it evolved in TLJ and in TRoS. BUT it should be situated in the context of the broader fandom and the range of views within it, + the many other interpretations of the Reylo relationship through fic and art, which The Atlantic's article missed.

Are you still writing any Star Wars fanfic? Tell us about it! (Don't forget your Ao3 handle!)

I'm late to the game but am interested in writing SW fanfic as a way of exploring my own capacity to write and create, so yes! Did my first drabble in mid December and have a few ideas cooking, the first which looks like a two-chapter modern AU oneshot. Watch this space…

Thanks to rlogarbagech1!

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onestowatch · 5 years

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Songwriting Virtuoso Sam Martin Chronicles a Life in Debut Solo Album, ‘Alpha Omega’ [Q&A]

Photo: Jimmy Fontaine

Sam Martin has been songwriting and producing for other artists for years, quietly amassing over two billion streams through the projects he’s touched. Martin is widely revered as pop songwriting royalty, with Maroon 5’s “Daylight” and Jason Derulo’s “Want to Want Me” being just a few of the many songs he’s collaborated on. Having already proved himself behind the scenes, Martin is stepping into the limelight with his debut album, Alpha Omega, an emotionally packed 18-track feat detailing a life from conception to finish.

The album itself is too complex to describe in the space of a couple hundred words, but falls somewhere between pop and alternative rock with lots of playful production touches. Martin has put himself at the heart of this project, from playing most of the instruments on the album himself to directing the accompanying film. Featuring audio clips from his own life and translations of highly personal memories, the film showcases the moments in Martin’s life that shaped him into the man he is today. Martin offers a piece of himself to listeners with Alpha Omega, revealing vulnerabilities and taking his artistry to the next level.

We sat down with the songwriter, artist and father to discuss Alpha Omega, telling the truth and gaining momentum as an artist.

OTW: Let’s start with the title! How did you land on Alpha Omega?

Sam Martin: I originally had the album as “Requiem” because I love Mozart’s Requiem. I wasn’t settled on it and my lawyer, who hilariously loves the record and listened to the private Soundcloud link over 40 times, said “This is too positive of a record to be called ‘Requiem.’ What about ‘Alpha Omega,’ like A to Z in the Greek alphabet?” I liked that because the whole album is from birth to death of a human’s life, and it’s semi-autobiographical, but I, of course, haven’t died yet so it can’t be totally autobiographical.

OTW: So is this a story inspired by your life or pretty much a retelling of your life story to the T?

Sam Martin: Once it hits the midlife crisis I project it on people I grew up around, but up until that point it’s like 90 percent autobiographical. There are a few moments I exaggerate because it’s good for the story, but it’s mostly based on true events. I basically had a great childhood and a great thirties so far, so it was a reminder of how hard things have been to get to where I am.

OTW: I think that’s pretty common for people to have a tough time in their teens and twenties and come out of it in their thirties.

Sam Martin: Yeah that’s why I’m hoping people can relate to it; I’m just telling a true story and trying to be honest.

Photo: Jimmy Fontaine

OTW: Could you tell us about the recording process and co-producing the album?

Sam Martin: I didn’t want to bother any of my really talented musician friends because I couldn’t guarantee that it was going to be a good idea. I was so used to bringing opportunities to producers and saying, “Hey I’ve got this song, Adam Levine likes it, let’s do it.” And all of a sudden I’ve got these songs and I’m keeping them. I would start songs like “Sabotage,” and get them really far, but I just didn’t trust that I would be the one to finish them. As the project went on I became way more confident, and I got some help along the way. I played all the bass, key, guitars, organ, some drums, and vocals of course, so it reminded me of how I used to do things as a kid. It felt like returning to my old self, just on steroids. (laughs)

OTW: How does it feel to go from writing for other artists to debuting your solo album?

Sam Martin: Well, I’m sober about it, but it is very fun. I had reached a level of success a lot of songwriters dream of, but for some reason I wasn’t terribly happy. I realized in hindsight that I was getting sick of serving other peoples’ moods and whims. It was exciting for a while, but I learned that you have to express yourself and feed your creative intuitions, or else what you’re writing for other people suffers as well. I have a million thoughts on that, but mainly it’s been fun, healing and exciting.

OTW: Let’s talk about the film, which you directed yourself. That’s a huge undertaking, how was that process?

Sam Martin: It was mostly overwhelming. I hadn’t directed anything for seven years, I used to film features for nonprofits in third world countries. I was actually kind of on track to be a director, but music was always my first love. When I got my break and Maroon 5 took my cut for “Daylight,” I didn’t have to make videos anymore and I dove into songwriting and abandoned directing. I had a bigger idea than the available budget for this project, so I thought the best way to do it was for me to direct it and edit it. My brother and sister helped out as well, and we basically went right to the edge of our abilities. Everyone was a hero on that shoot, once we finally got shooting it was a well-oiled machine. It was really special.

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OTW: You included some audio clips of your own life in the film, how did you go about choosing those?

Sam Martin: My sister is usually our family archivist, and I had her send me some stuff and pick out audio. I also recorded my son, I think he was about two at the time, and he gave me some amazing stuff. My wedding is in there, my dad’s 60th birthday party is in there. For me, it’s wonderful so I hope people can connect with that too.

Photo: Jimmy Fontaine

OTW: Going into the specific tracks, “Blue Eyed Joy” is a personal favorite. Could you tell us about writing that song?

Sam Martin: Oh really? Thank you for saying that, that was the first and last song I wrote for the record. I started it like eight years ago, and it had a few good lines, but I cranked it back open because I felt like it could be much better. The very last thing I wrote on the record was the chorus for “Blue Eyed Joy,” which is like the best part of the whole record. So it’s cool to have the last thing you do be one of your best. I think a lot of songs are written by single people who are sort of troubled. If you look at the top charts, I don’t think any of those people are married or in a long-term relationship. So I wanted to do something that legitimizes sticking it out and get through the hard stuff. My favorite line of that song is “diamonds don’t form overnight.” You can’t think your relationship is going to be perfect overnight. A happy 60-year relationship does exist, and we shouldn’t forget it.

OTW: I think we all need that reminder; dating scene can be tough.

Sam Martin: Yes, it’s possible!

OTW: Do you have a track you’re most excited for people to hear?

Sam Martin: My personal favorites are not always the favorites of everyone else. But my favorite single tracks are probably “Great Escape,” “Blue Eyed Joy,” and “Come On.” As a concept album, it’s important for the listener to note that the album never stops and that themes reemerge.

OTW: Tell us about balancing being a dad with releasing an album?

Sam Martin: My family is a delight. I’m obsessed with my family, and my kids are growing up so fast—I don’t want to miss it. I work from home a lot and have people over instead of going out to write.

OTW: What does 2019 look like for you?

Sam Martin: It looks like a big mystery. We’ve got this record, and I’ve still been writing a lot for other artists. I’m making a whole other record in case we get good momentum—I’m kind of doing everything right now. I must admit I’m having the most fun working on this record.

OTW: Who are your Ones to Watch?

Sam Martin: Starrah. I love that “Codeine Cowgirl” song she just put out. I also love Elephant Heart, my buddy is in that group. There’s some good stuff there.

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#sam martin #alpha omega #interview #blue eyed joy #alternative #rock #pop

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thinkingabout2020 · 4 years

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Who I Am, Why I’m Here

I’ve been thinking about starting a blog for a while now and finally just decided to do it. Why now? Sit tight while I address the questions in the title.

I’m a 52 year-old lawyer with a decades long interest in history and politics. I was a History major in college and focused on intellectual history - the history of ideas. My law degree transformed the way I process ideas, a change experienced by anyone graduating from law school. I have also been an avid reader for my entire life. As in “high level nerdiness”. I have made it through most of the Oxford Series on American History. For fun. Those volumes are not really for the faint-hearted. Documentaries are an addiction. My brain craves information to contemplate. It doesn’t have an off switch. So now I’ve explained who I am and one of the reasons why I’m here.

Too many people, in my opinion, don’t take ANY interest in politics. The ancient Greek leader Pericles once said “Just because you do not take an interest in politics doesn’t mean politics won’t take an interest in you.” Some aren’t interested because they don’t believe their interest makes any difference. Others don’t have a sufficient store of knowledge about history, economics, etc to form any sort of understanding about what’s going on so they simply don’t make the attempt. People who don’t have any interest in politics avoid it like the plague. Discussions involving that topic can be heated and uncomfortable, so I suppose that approach has a certain logic to it. But as the numbers in this group grow, those seeking power become more and more interested in THEM. The result is manipulation of the grossest sort. Misinformation. Illogic. Lots and lots of light but no heat. And recall, we don’t die from the darkness. We die from the cold.

Now we are well into the 2020 election cycle. Every four years we hear a chorus about how “this election is the most consequential of our lifetimes.” No kidding. The election of the NEXT set of leaders is always going to be more critical than the election of some group 2 or 6 or 12 or 20 years ago. But some elections have more HISTORICAL significance than others. The general consensus among people who study history is that the election of 1860 is the most important election in US History, and I agree. It brought Abraham Lincoln to the White House and assured that our nation would be plunged into a civil war. The Civil War. And one can not understand American History without having some understanding of the Civil War.

As I have watched this election cycle unfold, I have grown more concerned about what I’ve seen. The election of 2020 could well be the most historically significant since 1860. I hope that it’s not even MORE significant, because if it is we will have entered a dark place. I’ll get into my concerns a lot more in depth in future blog posts. I wanted a forum to express these concerns along with the rationales that underpin them. I’m also an addict to dialectic interactions. Discuss. Debate. Point. Counterpoint. But only if such things are done correctly. I’m going to blog about those things as well. But most common platforms, like Facebook for example, and populated by a lot of people who would just ignore anything offered along these lines. I don’t wish to force anything on anyone. However, I do want to offer my thoughts for those who may be interested without alienating friends and family members who are not.

So, here I am. I encourage comments. But I need to be upfront about a few things. Be civil. Comment on ideas, not on the people offering the ideas. Don’t bring any weak sauce in here. I strive to be open-minded but if you deliver a big sack of nonsense I’m going set it on fire and launch it back at you. Truth matters. See you soon.

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