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harveyscape · 3 years

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IM BORED. my top three farscape eps from each season::::::: looking at these i think season two has the best EPISODE concepts (it was hard choosing faves from that season bc i love so many) but season 4 is my favorite for just,,,,,,, the hecking Yearning + domestication in each episode but i dont particularly favor the episodes themselves

Season 1:

through the looking glass - i always saw this ep as being the first completely filler ep that really felt like farscape with the crew all working together and having a VERY CUTE little laugh about it at the end. i love the vagueness of it, it’s not annoying or cliche??? and i’m particularly fond of the yellow moya scenes like rygel’s like “shall i disrobe so it will be memorable” is one of my fave lines from him.

a human reaction - mY TRASH. MYYYY TRASH. just one of those farscape eps that are so Abstract in concept, they are just Default Faves for me like Always haha. so many good little j/a crumbs, the kiss in this ep is one of my BIG FAVES, i love everything about that scene and the ones leading up to it. LOVE THE RAIN SCENE. it’s probably the very first time john is like ‘maybe Earth bad’ and,,, ‘maybe space girl Good’ and i love that thruline of the show. this ep stands soooooo far apart from the majority of season 1 for me.

nerve: the hidden memory - “THE RADIANT AERYN SUN.” stark isn’t unbearable in his debut episodes woah! i like him as a sad boy who isnt a plot device! love gilina, love her death (rip), love seeing how far john and aeryn have come since they’d last seen her, love aeryn and crais’s interaction in this episode like YES GIRL SLAY, love whenever aeryn has to juggle with feeling WEAK and having to put her big girl pants on to save her himbo, love any interaction between d’argo and aeryn LOVE THAT.

Season 2:

crackers don't matter - the DIALOGUE in this episode is Insane and i LOVE IT i think there are so many line deliveries in this ep that are so memorable and Iconic they all just live in my mind rent FREE. i wish the commentary for this episode wasn’t about the more practical aspects of it because UUUHUUH i genuinely would love to just Absorb the mindset behind it. GOD TIER FILLER.

out of their minds - i am such a whore for body swap tropes it’s humiliating. another ep with a lot of iconic line deliveries! i love cb playing as john! love that for her! bb as rygel too is amazing i love all their stupid accent switching SO MUCH. love the skeksis love that they joke about them looking like skeksis because it’s jim henson and they can DO THAT.

won't get fooled again - any time i think about this ep im like man how Opened Third Eye was it to have john just immediately be like “haha ok this is fake lmao” like it’s so SUBVERSIVE in what it does pretty much right off the bat in introducing the moya crew as “normal” humans. eps like these are just ALWAYS my faves in tv series because of how crazy they can get and this one does and i love it so much for that.

Season 3:

scratch n' sniff - any time i get the moya crew on a pleasure planet or at a rave im like HELLO. :) I LOVE RAXIL she’s such a funky little freak. describing this ep is so weird its like Oh Yeah The Boob Juice Sucking One. JUST JOHN AND D’ARGO BEING BACHELORS, WHAT BLISS. i wish i got more john + d’argo shenanigans in this show ‘cause they are like such a fave together dynamically mwah mwah mwah. <3

into the lion's den: wolf in sheep's clothing - its a little crazy how much i Hate the first half of this two-parter which is super PANDERY AND BAD and then the last half is like so Insane and such a good close for the season. EVERYONE’S SO MISERABLE. the scorp shots with the imploding ship and the water UGHGUGHUGH <33333 love aeryn in this love her trying to save the Peacekeepers, love JOHN, love the little scientist nerd who works under Scorp i forget his name WHOOPS he has a nice design. THE CRAIS + TALYN DEATH IS SO GOOD;;;; LOVE THAT FOR THEM;;;;; <3333

dog with two bones - i think the fact that literally no other tv show has pulled THIS MESS off really speaks to the uniqueness of farscape and its ABILITY TO TELL ROMANCE??? theres so much in this that is just like WOWOWOWOW THIS EP IS SO GOOD. the part where they kill the rogue leviathan and rygel is celebrating on the comms and it transitions to aeryn Going Insane in her prowler over everything that’s happening. FIRE. the dog with two bones analogy UGHGUGHGUGH <333333 I LOVE THE AERYN > EARTH THRULINE WITH JOHN SO MUCH ITS JUST AT ITS PEAK HERE WHICH MAKES IT GREAT BY DEFAULT. the coin scene is SOOOOOO GOOOOOOOOD THE ENDING SCENE OF THIS EPISODE IS SOOOO GOOOOOD.

Season 4:

john quixote - MY FAVE EP OF THE SERIES LOL. love the COSTUMING love the POP CULTURE REFERENCES love that its SEASON 4 love that we GET A ZHAAN CRAIS JOOL AND STARK CAMEO. another conceptually abstract episode so of course i love it lol. love the scene in the end with john and zhaan where he’s kinda a sad boy!!!!! actually funny story about this ep the first time i watched this i was in elementary school still, i grew up on this show this is my Nostalgia Baby series, and did not know what the word “porn” was so like for a very concerning amount of time i always assumed “porn” was an Alien Word and not a real word. BECAUSE LIKE, in context you see chiana holding up a Gooey Boy and going “and this? porn!” and that was all i had to go by the end.

crichton kicks - I LOOOOVE SAD JOHN. I LOVE HIM. I love the character beats we get out of a john that CHOSE THE GIRL over his home and instead of GETTING HER he is punished for it, losing his chance at BOTH OUTCOMES like mentioned in “dog with two bones” despite him having chosen One of the options and not both. love the introduction to 1812 whenever john gets a named thing i am like Yes. :~) my boy, my little man. he’s a little crazy and a little sad.

terra firma - the YEARNING in this ep man!!!!!!!!!!!!!!!!!! this ep waters my CROPS one of my Biggest Fave scenes is when Aeryn and Jack are in her prowler talking about john and he’s like Do You Wish You Were Human and she doesnt answer and im like LORD!!!!!!!!!!!!!!!!!!!!!! more of that John Not Vibing With Earth Anymore trope which I LOVE. literally all fics surrounding this episode i will SNORT LIKE CRACK.

#its so funny having to decide a third choice for season 3 i was like #ugh............. i dont like any of these.......................................#sorry!!!!!!!!!!!!!!!!!!!!!!!!#the question is do i do a Least Favorite ep list and potentially get BLASTED #honorable mentions?????#love A Clockwork Nebari :)#love the What Was Lost eps theyre some of my most frequently watched COULDNT TELL U WHY I JUST REALLY ENJOY THEM #also Lava's a Many Splendored Thing

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funnuraba · 3 years

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A Rough Moral Overview of Archie Comics: Teen Propaganda Machine

Part 1: The 1940s

1941: Archie first appears in a small feature near the end of PEP Comics #22. His popularity builds rapidly, with the audience apparently writing in to express immense interest in the short monthly Archie comic.

At first the Archie story isn’t even mentioned on the cover, but Archie himself slowly starts appearing on the cover, always with PEP’s big star at the time, The Shield. The Shield on the cover is at first much larger than Archie, but he shrinks over time, and after Veronica’s introduction, she and Betty start to feature on covers as well. The Shield continues shrinking...

And by issue #49, the magazine is PEP Comics: Starring Archie Andrews! Archie quickly becomes its own imprint, and the only one of PEP’s lineup that survives into the present day. Ads in the magazine advertise an Archie radio show that was spurred by what was a apparently a massive outpouring of interest from PEP’s teenage subscribers. The concept of teenagerhood itself was a new invention dating from 1944. Archie’s reality included things like school, dating, and modern teen problems like trying to maintain a car and deal with wartime rationing.

Also, sending your dog to fight Nazis. (Note: the above are two separate stories; no Nazis ever actually invaded Riverdale. Oscar, Archie’s dog, gave birth on at least two occasions, including during her army tour, and eventually faded from existence.)

At this stage, minstrel-style caricatures of black men appear on occasion in Riverdale (as train attendants and no-account bums who steal clothing out of the trash), and Yellow Peril-style caricatures of Japanese people are a regular fixture in other PEP features like “Captain Commando and the Boy Soldiers”. As a side note, Chinese people are depicted quite differently in Captain Commando. At this point in US history, they were seen as important potential allies in the war against the Japanese. In Captain Commando, they’re drawn like actual humans in comparison to Japanese soldiers. One story shows a Chinese warrior who’s been bamboozled by foolish Buddhist ideals of peace, but finally snaps out of it and gets his followers to join up with US forces in resisting Japanese occupiers. Chinese-Americans were depicted less frequently, but also running in PEP for a time was a rather remarkable depiction (for the time) of a Chinese-American hero: Fu Chang, International Detective. Chinese people would later be collapsed into the Yellow Peril phenomenon in US pop culture and there were some very racist depictions within Archie Comics, but in the 40s there was a different perspective on display for a while.

(Captain Commando and his Boy Soldiers have since lapsed into the public domain; evidently the heroic quality of child soldiers lost its gleam after WWII and reviving the property was never deemed profitable.)

Also in the 40s, many, many stories end with a quite literal punchline in which Archie gets taken out to the woodshed and beaten by his father for causing trouble. This was PEP’s light-hearted humorous fare that apparently spoke quite deeply to a teenage audience of this era. The depiction of corporal punishment is neither “pro” nor “anti”, it’s simply an unavoidable consequence handed down from on high. Archie’s misadventures lead inevitably to physical punishment from an authority figure, no matter how much or how little he’s to blame for things going wrong. Mr. Andrews himself is sometimes a figure of fun during this period, but the 40s and 50s are the time when he most often feels like a self-insert for the writers and artists, who would have been closer to his position in life than Archie’s.

Archie’s position, though, isn’t entirely as the object of abuse. It’s pretty safe to assume that the writers and artists also grew up with corporal punishment and can sympathize with the experience--though they’ve now entered the stage of life where they understand that it was done only for their own good. Archie at the end of these stories is both resentful and rueful; he wishes it hadn’t happened, but there’s no room in the pages of PEP to contemplate a world where it doesn’t have to.

Violence was much more accepted in the 40s, including against the girls themselves--for their own good, in this case, but it’s still jarring to see a man give Betty and Veronica black eyes. Their crime in this case was, of course, being so silly and man-crazy that they nearly drowned him and themselves.

Often the violence was more cartoonish in nature, but it was only in the 40s that you’d see Betty showing up at Veronica’s door with Moe Szyslak’s weapon of choice.

The porter in this panel is one of the kindest portrayals of a black man in this period; the others (and the one depiction of a black woman that I noticed) are frankly unreproducible without heavy content warnings. Also in the 40s, fat and/or ugly women exist only as an object of fun or outright cruelty.

Vague “reducing plans” were advertised in the pages of Archie in the 1940s. This particular method was, as the name suggests, seaweed pills that were also marketed as chewing gum.

You may notice in some stories that the “ugly” and undesirable woman has very nearly the same face as Archie himself; the irony here is very likely unintentional. It’s rarely (seriously) suggested that there’s anything morally wrong with Archie aspiring to a girl much prettier than he is, but an ugly girl expressing interest in any boy is a figure of fun right up into... well, the present day. The Gabby pictured in the panel above her was a semi-recurring character, one of the only plus-size recurring characters ever depicted in Archie. As her name suggests, she was a gossip and one of the undesirable girls, but she was sometimes allowed to be friendly with Veronica or Betty without immediate karmic punishment. She’s also notable because she’s not only one of the only plus-size characters, she’s one of the very few plus-size female or teenage characters. Mr. Andrews, Mr. Weatherbee and Pop Tate all survived the 40s, but Gabby didn’t.

Betty at the inception of “Archie” (the comic) was just Girl. She rather liked Archie and he liked her, and he would try to impress/date her but end up having his monthly funny adventure. But only once Veronica was introduced did she start to gain more dimension, this time as Other Girl. Veronica was rather nice to begin with and it took a short while for them to start getting played off each other as “characters”. There was still little difference. Veronica was always rich and as a result became snooty fairly quickly, but her flaws were the flaws of an object. They existed to create difficulties for Archie, in his struggle to impress her, and Betty was differentiated only by not being snooty.

When Betty and Veronica were allies, it was because Archie had blown it somehow, and they were naturally compelled to be allies by virtue of both being girls. (When they didn’t like each other, it was also because they were both girls, and such was the natural state of being girls.) The panel above--both in the same pose, their identical faces lifted in scorn towards all men--would be echoed in other later stories, whether by chance or by accident.

Their posing in the 40s was frankly pretty ludicrous and transparent in its intentions.

Sexual attraction wasn’t explicitly commented on in the 40s comics in the way we understand “explicit” today, but it’s allowed to exist more openly than in later years. The va-va-voom effect highlighting the breasts would have to become more euphemistic as the decades passed.

In general, there was very little pretense in the 40s.

Artists had no qualms about showing the girls nearly in the nude (I cropped out a panel of Veronica in the bath above), nor about showing adult men leering at them. Even Mr. Weatherbee was occasionally moved by their charms. Generally adult men were “punished” for showing visible attraction, but only in humorous ways. It was more common for the teenage boys to drool over the girls, but the only disapproval shown when grown men did it came from women their own age, playing the role of scold or prudish spinster. There was also the occasional gag in which an adult man was misunderstood as a “masher” or peeper and received undeserved punishment from the supposed target.

There were various write-ups of celebrity activity in the 40s and 50s, and there too the attitudes towards women were pretty much what you’d expect, but even in the late 1940s the realities of life were not entirely veiled from teenage eyes. There was room for what would now be considered adult jokes.

Also in the 40s, Archie cross-dressed, like, a lot, in a way that noticeably vanished once the 50s rolls around. It’s always as a gag, and it’s usually noted that he makes an ugly girl, but in this era it seems to have been an idea that could be poked fun at without threatening the moral fiber of all America by the mere suggestion.

In fact, one semi-famous 1948 story, “The Battle of the Jitterbugs” (reproduced more fully elsewhere) revolves entirely around the girls and the boys competing in a “fair contest’ to see which sex is better at dancing--since boys only lead and girls only follow, it’s impossible to determine who can dance better overall. The obvious solution is for two girls to dance with each other and two boys to dance with each other.

Crucially, the idea is suggested by Reggie, the prankster of the group, framing it as a joke from its inception. Archie, the main character, follows through with it as a means of asserting male superiority. There’s also no possibility that two boys could dance, or two girls could dance, without the conceit of one performing the role of the opposite gender. But in practice, the whole thing does involve a lengthy depiction of two boys dancing together, and indeed, jokingly flirting with each other.

Again, the joke-flirting comes in the form of mocking from Reggie, both en femme and en homme. Archie, the protagonist and everyman, is uncomfortable throughout and finally throws Reggie right out Pop Tate’s door after Reggie goes too far in impugning his masculinity.

At this stage, the usual band of crones step in to punish him for imagined crimes against women, and he finishes the story sitting in bed with a broken leg, making a pronouncement that stands out rather sharply to the modern eye: “Confidentially, Jug! I’m no longer interested in women... or dancing!”

Veronica and Betty are significantly more comfortable with each other. In fact, it’s a rare 1940s story where they don’t quarrel with each other at all! Veronica’s femininity is seemingly unthreatened by the hat and pants, even though Archie Comics would continue issuing dire warnings against women in pants up through the mid-1970s.

It’s hard to imagine they lost after this! The tone of this page is downright celebratory, a rare occasion of early Betty and Veronica working together and coming out the victors of the story, not by one of them winning Archie, but by both of them showing their own skill at something without trying to show the other up. “Battle of the Jitterbugs” is a true rarity in these early years, a depiction of female triumph that doesn’t exactly defy the era’s pop culture as a whole--women were creating their own art even in the 1940s--but it does defy nearly every other Archie story up to the mid-1970s.

#archie comics #archieganda #i couldn't possibly put enough content warnings on this #content warning just about everything

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dweemeister · 4 years

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Marona’s Fantastic Tale (2019, France)

Before delving into the thick of this review, I have a few personal biases to reveal. First, I am not a “dog person”, let alone a “pet person”. I understand why people adore dogs, but I have long been uncomfortable around them – small, energetic ones especially. In addition, I tend to view the subgenre of animal movies (dogs, cats, horses, etc.) as littered with saccharine, but nevertheless watchable, dreck. Reading back those last few sentences, you may conclude that I am describing a heartless monster that should not be trusted with living things. So be it.

Anca Damian’s Marona’s Fantastic Tale, also known by its original French title L'extraordinaire Voyage de Marona, avoids the common traps of this subgenre. It, too, happens to be an animated film. Damian, a Romanian-French filmmaker, has previously only directed two animated features, both documentaries: Crulic – The Path to Beyond (2011, Romania/Poland) and The Magic Mountain (2015, Romania/Poland/France). She is, foremost, a dramatist concerned with humanist ideas and values. Damian and screenwriter Anghel Damian (her son) treat the title character – also called three other names – as maturely as any human character in this film, where other filmmakers in this subgenre might only do so superficially, to elicit obligatory “awws”. Marona’s Fantastic Tale artfully depicts the perspective of its canine star through the chapters of her life. These life chapters are laden with ambiguous resolutions and important conversations and decisions withheld from the viewer – moments where love, responsibility, and survival intertwine or clash.

The film begins with the female dog’s death. She (voiced by Lizzie Brocheré) has been hit by a car, and narrates the rest of the film, framed as a recollection of her most potent memories. Her first given name is “Nine”, as she is the last of nine puppies between a mixed-breed dog and a purebred Dogo Argentino. Nine is shortly adopted and immediately abandoned. As a stray, she is adopted by a struggling acrobat named Manole, and given the name “Ana”. Happy though their initial time together may be, Ana recognizes she is an impediment to his financial situation, and runs away. Slumbering at a construction site, she is grateful for the warmth of architect Istvan, who always brings her food. Istvan, who calls her “Sara”, eventually brings her home to his manipulative wife who abhors Sara. Lastly, our protagonist will be adopted by a little girl named Solange, who names her “Marona” (from the French word marron, meaning brown; I will refer to the protagonist by her final name for the remainder of this review). Solange’s overworked single mother and irascible grandfather oppose the impromptu adoption for differing reasons, but eventually accept the new addition to their household.

I may not know much French, but Lizzie Brocheré (The Magic Mountain, 2017′s Rings) is a wonderful narrator. At least half of the film’s lines come from Marona narrating her unfolding life. In her voice, Brocheré captures numerous emotions: joy, regret, indignity, confusion, yearning. Marona, whose understanding of the world is similar to that of a young child, is devoid of enmity – even when faced with humans showing little concern or dismissive of her well-being. The film keeps Marona’s narration to a certain register, leaving the greatest narrative subjectivity to the film’s visuals and not Marona herself. Marona’s narration reveals how she interprets the world around her:

[Dogs] want things to stay exactly as they are... Humans always want what they don't have. They call it dreaming. I call it not knowing how to be happy.

Marona’s Fantastic Tale employs various animation styles in ways that may not feel sensible at first. Humans do not look like humans. They come in all colors of skin (blue, green, incomplete black crayon upon white construction paper etc.) and impossible figures (Manole, the acrobat drawn in yellow and red stripes, has stretchable, tubular limbs that any real-life acrobat would envy; other characters appear anything but humanoid). The most conventionally “human”-drawn characters in Damian’s film are those closest to Marona during her life – namely Istvan, Solange, and Solange’s mother. Marona, and the viewer, find comfort in these familiarly-shaped humans. Istvan’s predominant blue skin is a cool color, contrasting against his wife’s vaguely ostrich-like yellow-and-black appearance – attributes shared by her gossiping and materialistic lady friends, all of whom may need to see the doctor for possible jaundice. Like any animation director, Damian uses the character animation in this film to code viewers’ perceptions on a character. But the abstraction of Marona’s Fantastic Tale means she and her animators can further exaggerate characters’ physical aspects and experiment with color. The film’s backgrounds are a mesmerizing interplay of hand-drawn and CGI animation. Depending on where the camera is approaching, the apparently 2D backgrounds might unfold into layers of CGI, and vice versa.

These effects are bewildering. They appear as one might imagine a small dog might understand humanity’s vastness of appearance and personality, as well as the sprawling natural and man-made world they occupy.

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Even more abstract through Marona’s eyes are the concepts of memory and time. On occasion, Damian has Marona reminisce about her past – an abstract flashback within a larger flashback. That past is filled with heartache – of being separated from her litter, her multiple abandonments. But in the confusion of understanding human motivation, Marona’s unconditional love for her mother and siblings and those who have taken care of her shines through. Hers is a melancholic loyalty, abiding despite abandonment. Time’s passage in the film is linear but inconsistent, leaving the viewer to make inferences for themselves. As a being with a short life, Marona has little time to find the most fulfilling, profound moments of her life in things that a human might deem mundane (in an occasionally funny piece of narration, she says, “A good sense of smell is worth a thousand words.”)

Every human in Marona’s Fantastic Tale is beset with character flaws and, with the exception of Manole, difficult familial lives. Their flaws may manifest themselves towards Marona, other humans, or both. Marona observes human frustration, jealousy, and pettiness and can always sense the unspoken tension that precedes a fateful action. Here, the film plays out not only as a simple flashback, but as a sort of dying wish. Marona, who we know is dying or is en route to what happens after death, appeals to the viewers without so much directly addressing them. It is an appeal for understanding: to realize our personal faults and to exemplify the consideration and goodwill that makes living worthwhile.

Some Western viewers might be irked that Marona dies in the film and that her death does overhang the proceedings. (They may be too accustomed to the excessively manipulative and stereotypical death fake-out so common in dog movies. Picture, if you will: a dog is shown to be in peril, the human characters hang their hands down acknowledging the likelihood of a dog’s death, but there is sudden uplift when, against all odds, the dog protagonist comes over the hill or rounds the corner and leaps into the arms of his caretakers.) But Anca and Anghel Damian have taken care to ensure that Marona’s death is handled as non-sensationally and abstractly as the rest of the film. Morbid it is not. That is no easy feat for any filmmaker, whether working in a live-action or animated format.

Marona’s Fantastic Tale does assume some life experience and contains presumed moments of cruelty, so I would hesitate to show the film to very young children. But the film should play well to slightly older children and, of course, open-minded adults. Marona’s Fantastic Tale is a film concerned about how time claims all, how dogs and humans might leave behind an example of love that sustains even in our darkest moments. That it does so convincingly through Marona drives this film’s beauty.

My rating: 8.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#Marona's Fantastic Tale #L'extraordinaire Voyage de Marona #Anca Damian #Anghel Damian #Lizzie Brocheré #Pablo Pico #My Movie Odyssey

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creaturecarnival · 4 years

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Hylics Part 2

Okay, first off, hello to our massive influx of new followers! We look forward to writing for you all, and want to give a huge thanks to the folks over at @weirdmarioenemies for being so gosh-darned cool :) Now I have something to actually motivate me to write more reviews, so without further ado, here’s part 2 of our Hylics creature review!

Creature

For our first new creature, we have, well… Creature! Creature here is an optional boss that you can encounter in one of the overworlds. It seems to be made almost entirely of the most basal of all clay shapes: balls and snakes (there is no way you could possibly take that out of context so don’t even try it)! I do love the layout of this thing, even if it’s very simple. I feel like the appeal of a giant mass of writhing tentacles is relatively universal, but I also like that the only feature Lindroth elected to give it other than tentacles is a little cluster of pale eyeballs on top and to the front(?) of its body. You’d kind of expect it to have some kind of big, gaping maw full of teeth, and maybe it does! Like a lot of the other denizens of Hylics, there’s not much to them other than whatever we can discern from their sprites, and I think that’s fun! When killed, Creature drops a Chitin Jerkin, which is described as “Sensible everyday-wear for the modern machine” as well as a Parasite Crystal which just does some stat buffing stuff we don’t need to talk about, I just really like the names.

Ghost

Ooh, they’re peekin atcha! Peekin out through their wacky flesh spirals! The way the clay winds around the action figure part really gives off the impression that it’s some kind of creature wrapped around a human, like a flech mesh flesh mesh flesh mech! Especially since there are tendrils coming off the extremities that look like they would function as essentially extensions of the body within. Speaking of those extensions, I love that instead of just one projection coming off of each foot, there’s two! So instead of walking like a regular person, it walks using its four sub-legs. Also it’s got a cool funny hat that I kind of wish came down over the eyes so that it looked like the clay part was the head, but at the same time the eyes peering through the clay bits is really eerie.

Dread Meat

Oh no, somebody left this boy out in the sun! They’ve gone all melty! Dread Meat is very similar to Ghost in its structure, however, its limbs do not have projections, and there is no trace of humanity to it beyond the hands and feet just barely emerging from what I can only imagine to be rolls of oozing meat. It feels like a zombie of some kind, although there is nothing else in the game that looks like it could be the un-undead version of this corpulent corpse. The thing I like most about its design is probably the fact that the head is a big loop with a grisled knot off to the right, presumably to hide the action figure head. It gives it some nice asymmetry.

Sub Shrub & Tomb Shrub

Oh my god. Adorable. These little green guys with huge lumpy wedges for heads and no discernible facial features should not be anywhere near as cute as they are. Also, I guess the name implies that these guys are plants? Anyway, Sub Shrubs can be encountered separate from Tomb Shrub, but they’re relatively weak on their own. But during the Tomb Shrub fight, it summons Sub Shrubs to help it out. Teamwork makes the dream work! I just love these little fellas! They look so squishy and silly! Also when he first encountered one, Vinny said the Sub Shrub looks like an “aborted pizza” and I can’t stop thinking about it.

Fathead

I was just thinking when I was writing Dread Meat’s review how fatty tissue isn’t something you see a lot in monster design, and here we’ve got this funky fella, whose head appears to be nothing but a massive glob of fatty tissue! I know there’s not much more to it than that, but it’s a nice concept for a creature and I like it a lot.

Monoops

Monoops’s gimmick seems to be its single eye… wait.

...Huh. I guess contrary to what the name would imply, Mono-ops has two eyes. That’s pretty neat actually! You don’t see many monsters with eyeballs as their design gimmick that have only two eyes. Usually, it’s either one or a whole bunch. It even has a move called Steady Stare that does damage as well as paralyzes its target, solidifying it as having an eyeball-centered design. I also really like the battle sprite’s color scheme.

Deadly Statue

Occupying a very similar role to the Ambulant Skulls, which you can read about in our last review of Hylics, Deadly Statues are only found in one area of the game. Similar to Ambulant Skulls, they kill you when you touch them, making them a purely overworld enemy. They are also much faster than Ambulant Skulls, matching the speed of the player exactly. Who'da thunk a big ‘ol statue’d be faster’n a skull made half’a legs?? Not me, that’s for darn tootin’! Anyway, I quite like its design. If I were an eccentric millionaire, this is exactly the kind of shit I would want sitting in the main foyer, flanked on either side by two huge, sweeping staircases of course.

Clawman

Clawman is the second-to-last boss in the game, they are equipped with two big yellow pincers and a ridiculously enormous head. I feel like the name and inclusion of pincers really makes you want to read it as a crab when really, the claws are the only vaguely crab-like feature they possess. You could argue that those spines on top are reminiscent to those of a king crab, but they’re flexible and curl inward towards each other like claws! That’s such a cute little touch!

Moon Soldier

Moon Soldiers barely qualify as enemies, since they literally can’t harm you, crumpling into a heap of bloody bones the moment you touch them. However, I think they’re really cool looking so we’re gonna take a look at ‘em anyway, god dammit. They guard the palace on the moon in which the final boss resides. It’s interesting how their heads are shaped much like that of our protagonist Wayne, (maybe they’re even the same species?) and the pale blueish color of the head against the cream of the clothes is really nice to look at. I kind of wonder if those are helmets they’re wearing, since the skull-like face markings almost look artificial, but there seems to be a very thin line between organic and synthetic in Hylics.

Gibby & Statues

Gibby is the main antagonist, and therefore the antithesis to our protagonist Wayne, who is a waning crescent instead of a waxing gibbous like Gibby, and instead of having a rad mohawk has no hair at all, which is basically the antithesis of having a rad mohawk. Gibby is, like, the king of the moon or something? I dunno, the plot in this game is kind of impossible to follow. If you’ve made it to the final boss, you’ve probably given up on trying to understand anything and are just here to see whatever batshit nonsense thing happens next. If you thought Clawman’s head was ridiculously huge, get a load of this guy! It looks like he can barely support its weight! How is it simultaneously swollen and gaunt? I dunno, but it’s kind of legitimately unsettling to be honest. It looks like his skin is pulled super taut over his face, almost like a desiccated corpse.

He also has two statues that aid him in battle. The Vital Statue to his right heals him, and the Eerie Statue to his left can afflict the protagonists with the nausea status effect. Can I just say how cool it is that there are four separate enemies in this game that have “statue” in their name, and they all look completely different? It’s really neat to see a single idea represented in so many different ways, ranging from somewhat recognizable to completely abstract. Most importantly, I think they’d all look lovely in the foyer of my imaginary mansion.

Conclusion

Hylics is a hell of an experience. It definitely has its flaws, such as clunky controls and practically nonexistent plot, but it’s at least worth watching someone play. The visuals are truly stunning, and you can really tell how much love went into making it. A huge portion of what you see in-game was painstakingly crafted from clay, rendered as a sprite, and worked into the game to become characters, enemies, and even the settings you walk around in. Please follow Mason Lindroth on Twitter, Tumblr or Instagram, where he is currently posting updates on the progress of Hylics 2, which looks absolutely gorgeous judging by what he’s shown us so far, and I’m so excited to play it when it’s done. Please also consider donating to his gofundme page to support him in his development of Hylics 2.

#mod frankie #hylics #mason lindroth

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sepiadice · 5 years

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Art Direction of Tabletop RPGs

Dungeons and Dragons is good at being Dungeons and Dragons.

That shouldn't be a controversial opinion, and it's not worded as one, yet I have one friend who derisively labels it as a war game, and another friend who believes D&D is all you need in regards to TRPGs. These two are from distinct eras of my life, and have never met.[1]

My moderate view is such: Dungeons and Dragons is good. It's not the ultimate system, but if you want a western fantasy built on the framework of Tolkien, Fifth Edition is the way to go. You could use a different system, in theory, but no other system has the same reach and stability. Everyone knows D&D, which is valuable.

Its combat and mechanics are a good balance of grit and function, and it's mostly teachable. My friend's 'wargaming' derision is because he believes it doesn't support role-playing well. Something about the guy who wrote Dungeon World saying if it's not in the rules, it’s not in the game.[2] But I've always felt that D&D makes the right decision in not bogging it down with structure and dictating the 'correct' way to role-play.

However, if you want to do anything else (Sci-fi, non-european fantasy, superheroes, Slice of Life), best case scenario the seams will creak in the attempt. D&D is good at being D&D, and that's the limit.

I appreciate D&D. I'll play D&D, happily!

There's a reason I bristle when “DM” is used as the generic term.

That said, I've always had a sort of tonal disconnect when I play D&D, and it's because of the art.

Fair warning, what follows is a lot of personal interpretations and vague mumbling trying to relay a point. I’m not actually an authority on anything.

(Dungeons & Dragons owned by Wizard of the Coast . Image sourced from Wikipedia)

Dungeons and Dragons does not have pretty art. It’s technically well done, and far from ugly, but it’s not actually inspiring. Above we have the cover of the Player’s Handbook, the first thing most new players see. Setting aside that the focus of the cover art for what should be the book about Player Characters is a giant monster man[4], the cover is very orange. The actual people are composed of muted, neutral colors, and the background is vague and out of focus.

It’s not really conveying an air of fantastic worlds and larger-than-life characters (giant wearing a dragon skeleton aside). It coveys oppression, monotony, and “realism”.

(Pathfidner owned by Paizo. Image sourced from Wikipedia)

Pathfinder’s core rulebook, on the other hand, is colorful. Look at that big, bright dragon![5] Sensibly dressed Fighter Man’s brown clothes are still bright enough to pop him out from the green-grey dungeon background[6], and Fantastic Sorceress’s red dress is also bright and helps frame the Fighter as her hand glows with magic.

While both covers feature a woman with an orb of magic, D&D’s cover shows magic as contained and lighting a small space, while Pathfinder’s magic is big and trailing, hinting at movement.

Actually, D&D’s mage girl doesn’t have a cohesive movement. Is she falling from above? Jumping in from the left? Where is she going? It doesn’t really follow in a meaningful way.

Anyways: color. Yes, yes, I know the plague of brown and and muted tones is a much whined about criticism, and it might seem odd from someone calling himself SepiaDice, but neutral tones have their place; usually as background and supporting other colors to pop more.

Besides, Sepia has a noble history in film, the brown range isn’t a common image color, and Sepia is fun to say.[7]

Color choice is very important. Bright colors draw the eye and make visuals more distinctive. Bright colors also denote and bring energy to things. Dull colors are used for locations meant to be calm and sedate. If you want the characters and locations to seem fun and full of life, you fill it with bright colors.

Everything breaths, adventure can strike at anytime!

Dull colors, and it’s hibernation. People are around, but they don’t seem to enjoy it.

But let’s turn to the visual storytelling: what does each cover tell you about life in their setting?

D&D: lots of posing to look fancy, but there’s no real sense of energy. Jumpy Magerson’s weird Megaman hop has been mentioned, of course. The Giant has a look of dull surprise as he drops Jumpy Magerson,[8] as he holds a sword in the non-active hand. Foreground fencer man is wide open, holding his own foil up and away from where it might accidentally jab anyone. The locations is… orange? Looks like there might be lava geysers?

Patherfinder: A dragon roars at its enemies! Teeth bared, tongue coiled, tendons on display! Wings unfurled to make it seem larger! The fighter is yelling back at the dragon, his weapons mid-swing! Shoulder forwards to defend the rest of the body! The Sorceress is holding a firm stance as she casts a spell that crackles with arcane energy!

Pathfinder’s cover tells a story of epic combat, fizzly magic, and energy. D&D’s cover tells a story of two adventurers existing in a space also occupied by a giant.

Now, both of these systems have the same ancestry, as Pathfinder is an iteration on D&D 3.5.[9] But one sparks more joy when I look at it.

But let’s do another case study. I’ll need an audience volunteer, and my brother’s the only person immediately on hand.

I’m going to make him list three qualities of goblins real quick:

Green

Wimpy

Sneaky

Awesome. Don’t know if the green text translated, but those are what he wrote. Give him a hand!

So, with those three traits in mind, let’s look at a goblin picture from D&D Beyond:

(Owned by Wizards of the Coast. Source here)

Like, you can’t say D&D doesn’t call that a goblin, it’s literally on the goblin page.

This guy is yellow. He’s built like a four foot tall WWE Wrestler. He’s defending with his advancing arm as he rears up to smack ya!

(Okay, “Sneaky” is a hard one to argue.)

Moving on, what does Pathfinder call a Goblin:

(Owned by Paizo. Source here)

Look at this charming miscreant! Green. Big ole head. Good mix of of ugly and oddly adorable. Probably two feet tall, and happens to want your two feet, please, but you could step on him if you’d like.

He also looks like a Gremlin

(An adorable little chaos monster owned by Warner Brothers. Source)

Point is, Pathfinder’s more cartoony take on the classic monster feels more in the spirit of the thing. Every time I see one of those goofy faces, I feel like I’m in for an enjoyable time.

Bringing us back around to the point of this essay: the art direction of D&D bogs down my theater of the mind. The art in the rulebooks don’t inspire creativity or fantastic visions. It inspires… dull, lifeless people walking through dirt roads flanked by dead grass.

I don’t enjoy looking at D&D’s art. Relatedly, I don’t like looking at the art of Magic: the Gathering, whose style I can’t help by see in every D&D sourcebook cover I see. Neither game invokes an inviting world, but utilitarian ones that exist to give quick, forgettable visual flair to represent mechanical card effects.

To save making this long essay even longer and unfocused, I’ll save talk of actual ‘canon’ lore for another time.[10]

So why do I, a semi-professional funny man and sad dreamer who can’t actually draw, want to talk about rulebook art?

Well, I’ve always felt a disconnect when I play D&D. I make the characters, I roll the dice, I attempt to role-play, but I’ve always had an emotional gap between me and the character I’m playing. I like the concept, but when I use my theater of the mind, the character feels stiff and divorced from everything. Kind of like the 5th Edition rulebook.

Then I saw this:

(Source tweet. All of this artist’s work is great and I wish I could hire them.)

This half-elf showed up on my twitter timeline, and my first thought was ‘How come my characters don’t look like that?’

Soon followed by ‘Why couldn’t they?’

Then I completed the trilogy with ‘Why haven’t I imagined my characters in a style appealing to me?’

As I was deep into contemplating what sort of aesthetic I consider my “brand”,[11] it was entering a mind primed to start overanalyzing.

So, how do I imagine my characters? In the neighborhood of the D&D art, if I have firm concept. Micah Krane always was mentally nebulous to me, just kinda being a generic half-elf dude. Trix (who was created for the brightly colored Pathfinder) is green-haired and wears a tail coat, but otherwise is also normal looking in my mind’s eye. In the last two D&D campaigns, Tybalt was also vague in appearance, and Teddi had Goat horns, but those were meant to stand out on a generic rogue character.[13]

But you know what I’ve never put on a character I’ve played? Glasses.

I hope that those who read my various media reviews[14] don’t need this overly explained, but I like glasses. I, myself, don’t wear glasses, but I find them to be great accessories in character design. Frames the eyes, come in a variety of shapes, adds bit of extra visual interest. I always point out Meganekkos and pay them extra attention.[15] I really, really like girls with glasses.

But I’ve never made one. Because there’s no cute design in D&D rulebooks. Just a range of handsome people to ugly halflings.[16]

That is the effect of art design in a system. It sets tone, expectations, and aesthetic for the players. It’s so ingrained that everytime I see art of players’ characters that break the standard, it always takes me aback. It’s inspiring to see artists who manage to divorce D&D the game from D&D the art.

I want to imagine fun, personally appealing characters. But the subtle direction of the insert art as I look through to rulebook, or the provided character portraits of D&D Beyond does not suggest things I like to see. It infects the mind, and leaves specific molds. People in practical, mundane clothes, walking down drab, uninteresting roads.

It’s the same lack of escapism that makes Western (Video Game) RPGs super unappealing to me.[17] Dark Souls, Elder Scrolls, Bioshock don’t look like fun places to be, they look tiring and full of splintery furniture waiting to do 1d4 nonlethal damage.

So I have to talk about anime now.

My mother was staying at my home a little while ago, and I turned on My Roommate is a Cat. This prompted her ask me about what about anime was appealing. I couldn’t form a competent answer for the question at the time, but it’s had time to churn in my head.

Anime is a good middle ground between cartoon and realism. It can broach deeper topics and more mature storytelling than children’s cartoons,[18] without sacrificing a light visual tone and fantastic imagery. Also, the fact that it’s produced by a non-American, non-European culture lends a degree of separation with cultural expectations and tropes. Enhances Escapism.

Luckily, in (very) recent years, after generations of exchanging video games and animation back and forth, Japanese Tabletop RPGs are starting to join in on the fun.

Which means I can look at Ryuutama.

(Image copied from DriveThruRPG. Brought over the pacific by Kotodama Heavy Industries. Buy this book.)

I love this system.

Watercolor art direction. Layout evokes a spellbook. Two Characters and a Dog take the focus on the cover, while the road signs and tiny shrine in the background invoke the emphasis on travel and wonder.

The interior art?

(Taken off the Ryuutama (english) website. Buy this book.)

Well, that makes the game just look like fun. Cartoony characters fighting cat goblins. Conflict, but it doesn’t make life feel like a constant struggle. A world I wish to inhabit. There’s also more detailed images of dragons and other world-establishing pictures mixed in to give the art range, but it’s this sort of charming that makes Ryuutama the first rulebook I actually sat and read cover to cover.[19] It’s a good system I already reviewed. Buy this PDF, maybe they’ll reprint the physical book.

Anyways, I’ll admit, the art’s a little too simple for D&D. Perfect for Ryuutama, and the end of the scale I want my mental image to be, but overshoots the sweet spot. And it’s difficult enough to find players for the much more popular 5e, so Ryuutama exclusivity would grind my playtime to zero.

Still, Ryuutama does a great job of setting it’s light, fantastic tone, where D&D has failed me. The art direction of the books, and years of exposure and defaulting to what I assume D&D should look for establishes a mental habit that’s hard to break. Wizards of the Coast has drowned nerd spaces with its particular kind of art, especially with MtG plastered all over hobby stores, deck boxes, dice, playmats, and even D&D sourcebooks.

That’s not even accounting for fanworks and the speculative fiction art in online spaces.

So what do I want to look like? Were I blessed with talent or with patient to actually learn to draw well, what would I be referencing?

What about what set my expectations of fantasy years before IndigoDice invited me to that fateful Traveller game?

(Screen cap of Tales of Vesperia grabbed from here.)

Well, okay, what I’m actually thinking about is Tales of Symphonia, but Vesperia’s graphics are kinda what nostalgia tells me Symphonia tooked like, as opposed to what it actually looks like.[20]

Look at that verdant town! Warm lighting, bright characters, leaves growing to depict life. A hotel built into a tree. This is a fantasy world that is unashamed about life thriving.

Forget solarpunk. This is my aesthetic.

As for the party members…

(Okay, Judith’s a little gratuitous, but The Definitive Edition lets me put her in a suit, and she’s awesome. Art stolen from here.)

Oddly enough, as far as JRPG outfits go, these are pretty tame with details.[21] Mostly bright, popping colors, even Yuri’s dark clothes are done in such a way to not feel grim and edgy, hints of personality, and I just enjoy looking at them.

The Tales series as a whole does a good job of taking European fantasy and applying Japanese whimsy to the design. Also yukatas. Every member looks like the hero of their own story, while still being part of a cohesive whole.

Which is, you know, the ideal way to operate as a TRPG party.

So, what’s the take away?

Artists, keep being creative. Pull inspiration in from things besides the rulebooks and Critical Role. Look at the other things you love and bring visual flare and whimsy to your art. Then share it. Ignite the passions of those of us who can’t do the draw-good thing.

Players, play with the tropes. I love doing it narratively and mechanically. My favorite rogue is still my neutral good stage magician who would never do a crime. Explore what’s possible in the freeform world of tabletop games, both in play and your Theater of the Mind.

Game designers, branch out with the art. And stop using Powered by the Apocalypse as a crutch.[22]

Hope this long ramble was enjoyable and cohesive. If you want more of this, my other works, and maybe to allow me to make an actual play podcast, consider supporting me through Patreon or Ko-fi.

Until next time, may your dice make things interesting.

[1] Though I would love to read a transcript of the two discussing it. It'd be a fun debate. [2] I don't like Powered by the Apocalypse for precisely this reason. Every actual play I've heard with the system has players talking about their characters in the abstract, because they're just pressing the buttons on their character sheet.[3] [3] I maybe should do a breakdown of PbtA one day. [4] Which is pretty poor direction. Do an epic group shot of characters battling a horde around them. [5] None of the D&D core books has a dragon on the cover. Come on, that should’ve been a gimme! [6] Similar note as footnote 5. [7] Also CornflowerBlueDice is too long to be catchy. [8] I figured it out! [9] I haven’t looked at at Pathfinder’s forthcoming second edition. Fifth Edition reclaimed it’s throne as The ubiquitous system after fourth lost its footing, so I don’t think there’s much point. [10] TL;DR: I ignore it. [11] Pulp Fantasy is too mundane. Steampunk is too victorian-y. Sci-fi fractals into so much. Solarpunk has appeal, but isn’t quite right.[12] [12] Haven’t really found the term. [13] Let’s not examine that I put more thought into female character design than male for the moment. [14] Which you should. Validate my efforts! [15] And desperately pray it’s considered innocent enough of a fetish that I don’t have to stop. [16] Never liked halflings. Gnomes are fine. Halflings, in art, have always been off-putting and malformed. [17] That and the emphasis of character customization kneecapping the Player Character’s narrative involvement. Can’t give them a personality if that’s the end user’s job! [18] Even Avatar: The Last Airbender felt like it had to sneak the narrative depth it achieved past corporate. [19] I do need to give it a reread, though. Relearn the system. [20] It still looks good, especially the environment, but the characters are kind of… leaning towards chibi. [21] This, specifically, is why I chose to highlight Vesperia over Rune Factory. [22] Technically nothing to do with this essay, but I can’t stress this point enough.

#SepiaDiceRants #ryuutama #Fifth Edition #Dungeons and Dragons #pathfinder #tales of vesperia

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unlimitedblogworks · 3 years

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Tsukihime - Completed Archuied route <SPOILERS>

I finally went ahead and decided to dip my toes into the Type Moon verse! And what else is a better choice then their very first release Tsukihime~

Tsukihime is a very interesting piece, It has an incredibly soothing atmosphere that brings ones mind to peace, this is in great effect with its background art which is often duotone but through that in combination with the music is able to evoke certain moods and emotions, The melancholic oranges, the clear blue skies, Those yellow faded memories, The purple freakishness of when Shiki takes off his glasses. Vile reds of murder, Its simple color usage but it works very well to leave an impression. The amount of Orginal soundtrack and art is quite limited yet it is still able to achieve quite a bit with those elements. The sprite art itself is adorable. Their expressive to the point where I can nearly hear the voices of the characters evoked by those expressions, Ciel especially comes to mind with expressiveness. All the little gestures in the character sprites really fits well within the entire mood of the game. Its blissfull and fun. The art is really simple but damn does it suit its purpose well in conveying the scenes and the emotions of the characters.

Hisui.

I adore hisui, Hisui is without a doubt in my mind my favourite in Tsukihime so far. This is because of her very reserved nature and the way she has trouble with expressing her own emotions. That is a character idea I’v always really enjoyed and it fits really well with how hisui fits into the story as a maid to. She’s reserved and often seems to have trouble to express herself towards others and when she does has to really try her best to express her thoughts, there are even scenes where Hisui completely zones out just to think about whats being conveyed to her and how she should respond to that. I honestly cannot wait until her route or to see even more content of her. Her expressions and small amounts of dialogue towards shiki are honestly lovely.

Archuied

I like Archuied quite a bit I think she is also an adorable girl and her mannerisms are very loveable. Her design is great and I think the way her character is written is quite well done to. I really like the way her vampireisms were taken into account with her characterization and character writing as well as her dynamic shiki. Arc is somebody who doesn’t know the world or somebody who only has grasp on it through theoritical means and only having read about it. She has never truly experienced life at hand and was only able to learn through the things she read of the current times but never to fully and truly indulge. This is also what I like with her and Shiki’s dynamic. Shiki Gives Arc a chance to indulge but also learns her important lessons such as the simplicities of life and that not even the things that may deemed “pointless” have their own values. Not everything should have purpose. In a way just living is good enough. Just being able to walk across fields and enjoy yourself, to have existance is enough. I really loved those scenes with shiki and Arc as there was an appreciation of life itself. And the way of showing these different froms of living the to had was very soothing and nice to view. “The dusk classroom, bathed in the red sun, a vulnerable looking girl.” The red sun that she is being bathed in is in reality Shiki’s warmth and love for her and him showing her a different way to look at things while also hearing her time and patience. I liked those final scenes of the true ending a lot as well. That final conversation with Shiki and Arc is something I’d like to reread as well since it felt quite poetic. Fading into the orange sky. And a crimson sky being painted over by a dark blue, a part of shiki’s life ending in that sense. A beautiful memory is all that is left. I especially wonder how I feel about the last lines of the moon. WIll think about it more.

I like Shiki as a conceptual character a lot, his outview towards life is something I can definantly get behind. I think its really interesting how sweet he is yet these vile strong and grim emotions effect him. Compressed and shoved away sometimes those negative emotions come up in the worst ways and at the worst times. He also feeds into other characters quite good to.

Also I felt so bad for Akiha throughout the entire route, after 8 years of not seeing her brother there is still such a disconnect between the two of them which makes sense given the circumstances, but im sure that Akiha feels really lonely and also very worried about her brother. Going out at night, returning home wounded. And they never talk deeply about these issues either. I can only imagine the emotional stress that must bring her to.

Arihiko is fucking funny, the perfect homie for somebody who comes across as soft.

Kohaku is okay, she is funny and I like that about her character. Though I kind of expected to like her more, then again im not even in her route yet lol. Nothing really to say about her. I like her sprites.

Sacchin got shafted, fuck you nasu. I will never forgive you for this. She was so cute, her ponytails will be forever in my mind.

This brings me to the two antagonists, Chaos and Roa I found both of these to be quite uninteresting. I liked both of these on a conceptual level but besides that I think if I dont think to much about them I will forget them quite quickly. Though I might be a bit harsh but I genuinely dont find a lot of connectivity into the rest especially Chaos feels the most mild of them all. Atleast Roa has an interesting connection to shiki. ( I wonder if pondering more about the nature of both of their powers will reveal more to me in the future) but for now im really mild on both of them.

I want to reread the prologue to now of tsuki and the senpai bits.

Also I want to say that I found the mythical elements to be absolutely boring at times. The dialogue is structured in a way that makes it very boring to sit through and it makes it unappealing to listen to all of the lore. I dont mind vampire and demon and mythical lore, however the way the lore is talked about is damn boring. It seriously needs some kind of different wording to show it off in a better way. I do think some of the lore is really interesting. Especially if we think of arc lore shown in tidbits, the cg with her and the long hair in the garden. Always locked to that garden. The fallen ancestors, getting sealed away. That was really interesting. Though the stuff about the church and more general stuff like just general vampire concepts was really tough to read through and is already becoming vague and more vague.

Eitherway uuuuuuuuuuuh thanks for reading. more thoughts in the future?! As usual have no clue how to end on this note. I liked it! It was a nice first route even if I had my problems with it. Very comfy. I also liked the H-scenes? even if some of the wording was funny it still got me.....

#tsukihime

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calliopesquill · 6 years

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A Year in the Life: Chapter 5

Guess what! I decided to post before midnight tonight lol

You all are seriously amazing, you know that? The responses I have been getting for these last chapters have been incredible and I can't thank you enough.

Special thanks to all of you who left me such wonderful comments. It really makes my day every time I get one and there are a few these last couple weeks that almost made me cry. So really, thank you.

With that said, on to chapter 5!

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Chapter 5: La Familia Rivera

Nell needed to start setting alarms when she worked. She’d gotten so buried in her novel planning and concept sketches that it was three in the afternoon before she finally surfaced, and that only happened because her stomach had let out a growl loud enough to wake the dead. She pushed herself away from the table with a groan, letting out a muttered curse as she stretched, her back protesting at the hunched position she’d been in for the last three hours. It was definitely time for a break.

She shuffled across the kitchen to her fridge, only to find it almost totally empty. Right… I was supposed to go grocery shopping this morning.

She sighed, shutting the fridge again. Better to do that now, and maybe grab an early supper on the way. She was too hungry to cook. But first she should probably get dressed. Her style may be casual, but it definitely wasn’t “leave the house in pajamas” casual. Nell traded her pajamas for a pair of comfortable flower-printed shorts and a white tee shirt, twisting her hair up in a messy bun as she stepped into her pink ballet flats. After a quick double-check that both her keys and wallet were still in her purse, she was out the door.

As she walked, she went over what she’d come up with for her new novel so far. It would be narrated by the guitar itself, a twist that she would not be revealing until near the end. She didn’t have much for her protagonist yet, but was toying with the idea of him stealing the guitar for himself at first, so the story could be something of a redemption arc for him as well. There would be no familial connection between the hero and the guitar’s original owner, however. She wanted to tell her own story, not just re-tell something that had already happened.

She was contemplating the design of her main character when she was nearly knocked off her feet by a small, bony form. The dog continued on past her to dance around the feet of an old woman in a blue button-down dress.

“ ¡Oye! ” The woman protested, shifting the grocery bags she carried to one arm so she could shoo the dog away. “ ¡Abajo! Abajo, perro tonto. ¡No saltar! ”

The dog, completely ignoring her commands to get down, jumped at her again, knocking her bags from her hands in its attempts to smother her with affection. It only backed away when it saw her reaching for the sandal on her foot, electing instead to plop down next to her and begin chewing on its own leg.

Muttering to herself, the woman began to pick up her spilled groceries, letting out a muttered oath when she saw the strap on one of the bags had snapped. She looked up when she saw a second set of hands gathering up the spilled fruit and reached for her sandal again, prepared to fight off any tonto stupid enough to try to steal from her. But instead of running off they pulled a folded-up cloth bag from inside their purse and began putting the spilled food inside to make it easier to carry.

Nell stood, brushing off the road dust, and offered the woman a hand to help her up. “ ¿Estás bien? ” She asked, picking up the bag of groceries she’d helped pick up.

“ Si, gracias ,” the woman answered, then shot a fond but vaguely frustrated look towards the dog that still sat at their feet. “No thanks to you, silly dog.”

“Is he yours?”

“He thinks he is,” the woman shrugged. “He comes to the house sometimes, looking for food. He is very fond of my grandson.” Now that she could actually get a good look at the person who had helped her, she recognized the young woman who often sat in the plaza. “You are one of Coro’s tenants, si? The artist.”

“My name’s Nell,” she said with a smile. “It’s nice to meet you. Did you want some help getting these back home?”

“Ah, I will be fine,” the woman said, waving her off. “As long as someone --” Here she shot another look at the dog, who gave her a harmless doggy smile. “--does not jump on me again.”

“Aw, you won’t jump again, will you?” Nell asked the dog, giving him a scratch behind the ears. The dog gave a small huff, leaning into her hand as his skinny tail beat a tattoo against the ground. “Cuz you are a good boy.”

The dog barked the affirmative.

“You are a nice girl,” the woman decided. “My grandson, he says very good things about you.”

“Your grandson?”

“ Si. My Miguelito. He talks to you sometimes when you draw at the plaza.”

“Oh, you’re Miguel’s abuelita !” Now it all made sense. “It’s a pleasure to meet you at last. And that must mean that this handsome boy here is Dante.”

Elena snorted. ‘Handsome’ was not exactly the word that she would have chosen. What he was was dumb as a bag of rocks, but he was sweet-natured and very dedicated to her grandson, and the rest of the family by extension, so she’d developed a soft spot for the silly thing. “You are very good with dogs,” she noted, seeing Dante roll over so Nell could scratch his belly.

“I always wanted one growing up,” Nell confessed as she gave in to his desire for pets. “But my dad was allergic to the hair. Couldn’t handle cats either, so I never had a chance to have a pet growing up. And then after I moved out on my own I couldn’t really afford one so… “ She shrugged.

“This one seems to like you,” Elena said with a small nod. “He is very foolish, but he knows good people. You will come for dinner.”

“Thank you. I -- wait, what? Oh, no, you don’t have to. That’s very generous but --”

But Elena overrode her protests. “Nonsense. You will come tonight and meet the family.”

“I --- okay.” What else could she say? “Is there anything you’d like me to bring? I could make dessert.”

“No, no. I have all that I need. You will come tonight for six and we will have a nice dinner.”

“Ah… Okay. Thank you.”

Despite protests, Nell insisted on escorting her home anyway, telling her to keep the cloth bag that the extra groceries had been carried in as Elena’s other one was broken. The moment the door had closed Nell dashed off down the street to the grocery store.

She ended up making chocolate chip cookies, though she’d had to borrow a pair of baking trays and a serving platter from Tia Caro. She had been told not to bring anything but she had been strictly mother-trained not to arrive empty-handed when it came to dinner invitations. As the cookies cooled, Nell traded her shorts and tee-shirt for a casual emerald green maxi dress topped with a candy pink knit bolero sweater. Mindful that she was visiting a family of shoemakers, she paired her outfit with a pretty pair of black and gold strappy sandals. Her hair she tied back in a low, looped ponytail that would keep the curls out of her face, but would not give her a headache as the night went on.

She walked carefully towards the Rivera home, praying that she wouldn’t trip and spill all of the cookies before she got there. It might have been early October but to Nell it still felt like mid-summer. The leaves would have just started to change color back home and the neighborhood kids would all be in a tizzy picking their Halloween costumes. She smiled fondly at the thought. Halloween had always been her favorite holiday, though more for the costumes and the candy than the spook-factor. Funny enough, Nell could not handle horror movies or haunted houses at all. Her friends had tricked her into watching A Haunting in Connecticut one night and she barely slept for a week.

She’d be missing Halloween this year, but would be trading it out for her first experience with Dia de los Muertos. Already people had begun decorating, draping colorful cut-paper banners between the buildings. There were areas of Santa Cecilia where the little flags were always present, but there were always more come fall. It was a little early for people to be putting out the elaborate calaveras figures that were also used to decorate, but Nell did spot one or two between her place and the Rivera’s.

Thankfully she made it to the house without incident and knocked on the front door at promptly five minutes to six.

The woman who answered the door was just shorter than she was, dressed in a cheerful yellow blouse and a bright pink skirt. Her hair was dark and straight, tied back in a low, loose braid. She had a youthful face, with smile lines just appearing around her eyes -- some of which, Nell guessed, could be attributed to the toddler at her hip.

She smiled when she saw her. “Ah, you must be Nell. Mama told us you would be joining us for dinner. Please, come in.” She nudged the door open with her foot, stepping back so Nell could follow her into the courtyard.

“ Gracias, Señora Rivera. ”

“Please, call me Luisa,” the woman insisted, resettling her daughter on her hip as she closed the gate. “And this one here is my youngest, Soccoro. Miguel has told us so much about you. He says you are an artist.”

Nell nodded. “Yes ma’am.”

“Miguel really likes your books. He wanted to bring them home from the library so he could show his prima Rosa but they did not have them, so he has been showing her on the computer during their lunch hour. She really likes your heroine.”

“I’m glad they’re enjoying it so far,” Nell smiled. “I had a lot of fun writing it.”

“It shows. Ah, but you must be tired of carrying that tray. Come, I will show you to the kitchen. Mama should be just about done with dinner.”

“She told me not to bring anything but I wanted to contribute somehow,” Nell admitted, following Luisa through the courtyard. “I’m better with desserts than actual meals, so I figured chocolate chip cookies would be a good option.”

Luisa chuckled. “We will have to hide those from Miguel until after dinner. And this one too,” she added as little Soccoro reached for the tray.

No sooner had she said that than Miguel burst from his room, still dressed in the white button-down shirt and navy pants of his school uniform. “Mama I’m done my -- hey! Nell! What are you doing here?”

“ Ay! Manners mijo. Your abuelita met your friend this afternoon and invited her over for dinner.”

Miguel cocked his head curiously. “How did you meet abuelita?

“A certain affectionate xolo decided that the best time to give her kisses was when she was carrying groceries,” Nell told him. “I just happened to be nearby and helped her pick them up.”

He laughed. “Dante is still working on his timing. Are those cookies for us?”

“After dinner, mijo ,” Luisa told him. “Your abuelita should be almost ready, so why don’t you get out of your school clothes and you can help set the table.”

“Okay Mama.”

Abuelita Elena was the undisputed head of the Rivera family. She was a life-long shoemaker but it was in the kitchen where she truly reigned supreme. Everything was timed to the minute on an internal clock born of practice and instinct. Nell, who could not put a perfectly-timed meal on the table if her life depended on it, wanted to applaud. Elena seemed to know everything that was going on in her kitchen at all times and even though her back was turned, she was instantly aware of other people entering her domain.

“Ah, Luisa! You are just in time,” she said, not even turning around as she plated up a tray of ribs in a spicy-smelling sauce. “And you have brought Penelope with you. Good. I like it when people are on time.”

“I’m obsessively prompt,” Nell smiled. “And please, call me Nell. I brought some dessert for later. Is there somewhere I can put it where little cookie-monsters won’t be able to help themselves before dinner?”

Elena gave a short snort of laughter. “Anyone in my house knows there will be no desserts until after their dinner. For now you can put them on top of the fridge.”

Not for the first time Nell was grateful for her height, as she barely had to stand on tiptoe to set the tray atop the fridge. As with many homes it was a local showcase of family achievements; well-graded assignments and art projects from the varying Rivera cousins covered the door, fixed with colorful magnets. As she turned away she could see Elena glancing at her sandals out of the corner of her eye.

“Your shoes. They are pretty, but they were not made for you. They are too flat. You move like a dancer, but in those things you walk like a duck.”

Nell let out a snort of laughter. “I was a dancer, from about the age of four. Quit after I finished university because I moved out and couldn’t pay for lessons anymore. Took three years as an adult to train myself out of that turn-out so I could walk with my feet parallel again.” She still caught herself standing in ballet-third when she wasn’t paying attention. “I have a hard time finding sandals a lot of the time because most of them come in four styles: cute but flat as cardboard so zero arch-support at all, cute but with massive heels and can only be worn for like an hour before you want to die, cute but eat your feet and leave raw patches and blisters, and comfortable but really ugly. There is no place for ugly shoes in my wardrobe.”

Elena nodded in approval of the sentiment. There was no place in the world for ugly shoes at all in her opinion. Cheap shoes were an insult to her craft. No Rivera would be seen wearing cheap, poorly-constructed shoes, and if she had her way then no friend of the Riveras would either. “Come, you take that plate there and help me set the table and we will talk about shoes that you can wear for the rest of your life.”

“I -- okay.” What else could she do? She didn’t want to come out and say that custom-made shoes were not a luxury that she could afford right now. Most of what she had had gone into this trip, and though her book sales and commissions were keeping her afloat, they didn’t leave much room for luxuries. She took the plate and followed Elena into the chaos that is the dining room.

Seeing the number of people gathered, Nell stopped short and stared. When Elena invited her to dinner she didn’t think it would be with the whole family. It looked like half of Santa Cecilia had managed to fit itself around the table.

“Come, come. Put that plate down right here. Si, right next to the tamales. Manny, Benny, stop teasing your prima Rosa and come sit down. Abel, you shuffle down and make room for our guest. Todos, esto es Penelope. Penelope, mi familia.”

“Ah...hi everyone.” Nell set the plate down and gave a shy wave. “Please, call me Nell.” Should she start wearing a sign? She really felt like she should start wearing a sign. Something simple like ‘ Please do not call me Penelope until I am over the age of 65. Thank you.’

A seat was left for her between Elena and a woman who introduced herself as Miguel’s Tia Gloria. She then introduced Nell to her twin boys, Benny and Manny, who were a couple of years into elementary school. They weren’t particularly interested in introductions, and were much more focused in which of them could stuff the most food in their mouth at one time.

Miguel’s father Enrique, a tall man with a dark moustache, passed a platter of food to his wife before turning to Nell. “So, Miguel says you’re an artist.”

The question was offered casually but Nell had the distinct impression that what she was being asked was actually something very different. “Yes, sir. I write graphic novels -- comic books -- but I take other commissions as well. I’m setting my next series in a place similar to Santa Cecilia so I’m living here for a few months as I work on it because I want to get an authentic feel for the culture and the lifestyle and the architecture. I spend a lot of time doing reference sketches in Mariachi Plaza. It’s got really great atmosphere and that’s something I really wanted to capture. Then that one over there --” She nodded at Miguel. “--got curious one day and decided he wanted to know who the weird turista was who kept writing everything down in a giant notebook.”

“You should see her sketchbook. It’s really good,” Miguel told them. “She was drawing the bell tower yesterday and it was just with pencils and it was perfect! It looked like one of those old-timey pictures.”

“We read your comic at lunch sometimes,” added Rosa, who sat a few seats down from her cousin. “We just got to the part where Polaris and Astra start working together.”

“Have you gotten to the mirror incident yet?” Nell asked.

Rosa shook her head. “Not yet.”

“Let me know when you get there. That was one of my favourite chapters in the whole series.”

The conversation flowed freely throughout dinner, catching up with the goings-on at school. Abel was taking some online CAD courses for the business, and there was some discussion between the other family members on designs and techniques that they were experimenting with. Miguel mentioned briefly how he’d started reading Dante’s Inferno , which had the entire family in stitches when Benny and Manny asked how the little doggy wrote a book. Nell also got a more in-depth history of the business itself.

“I think it’s really admirable what Imelda did,” Nell said honestly. “Running a business is really difficult, and at the time, being a female entrepreneur would have been that much more challenging. Never mind being a single parent on top of that. So that she created such a successful business that has stayed in the family for so long is really incredible. Add the complication of foreign investment and multinational companies with giant factories, it must be challenging sometimes to stay competitive.”

“ Si , it is sometimes,” Miguel’s father answered with a shrug. “Much of our business is local. Most people here, they would rather be able to see and feel the thing that they are buying, so that is a benefit to us.”

“We did get that magazine placement a couple of years ago,” Gloria added. “That telenovela star. What was her name? She mentioned us in an interview and wore a pair of our boots for a photo shoot.”

“There is always a market for quality custom work,” Elena nodded. “Work that lasts. That is a legacy worth protecting. Would you like some more tamales?”

Nell leaned back in her chair and shook her head. “No, gracias. They are delicious but I am stuffed.”

“No, no, there is plenty of room left. You are so skinny! Have another.”

“You know, I think I’ve heard that from everyone at Tia Caro’s building,” Nell laughed as she accepted one more tamale. “I think she might have decided to adopt me. Ten bucks says she must be half-way through the paperwork by now.”

Elena gave a nod of approval. “Caro is a good woman. She takes care of her familia. ” It didn’t matter if they were related by blood or simply lived in her building. All were considered family. And that, to Elena was the most important thing.

How anyone at that table had any room for cookies after that meal, Nell had no idea. But somehow they did, and managed to empty the tray in record time.

“Have you figured out the plot yet for your new comic?” Miguel asked as he and Rosa started clearing up the dishes.

“Part of it,” Nell answered. “I was working on some of the background and lore this morning. The story is going to center around a cursed guitar.”

Miguel paused, setting down the plates that he had been stacking, memories of her inquiries about is own guitar immediately springing to mind. “How did it get cursed?”

She hesitated for a moment. As much as she really wanted to be able to use this idea for her books, she worried it might hit a little too close for Miguel. She would leave it for him to decide if he was comfortable with her continuing, or if he wanted her to write something different. So she gave a cursory explanation of the concept of the tsukumogami and how the guitar had developed a spirit of its own. “And what the guitar wants is to finally see justice done for its murdered owner, and to be played again by someone who is worthy.”

“Cool!” Rosa declared. “Who killed him?”

“No spoilers,” Nell grinned at her. “But if you guys want I can show you some of the concept art I’ve got later.”

Miguel hesitated, not entirely sure how he felt about the idea. On the one hand, it was a little weird knowing that part of his family’s history, even a small part, was going to be used in a book. But if there was anyone that he trusted to do it respectfully, it was Nell. He’d caught the look she gave him when she explained her idea and knew that she would not proceed with it without his go-ahead. And aside from that… a graphic novel series about a sentient guitar would be really, really cool.

He flashed a crooked, one-dimpled smile and nodded. “Can’t wait!”

When Miguel met with Nell that night, he knew that he was right to trust her. What she had planned did briefly allude to the history of Hector and Ernesto, but not in any way that would be recognizable to anyone but him.

In her story, the guitar was a family heirloom. The father was a brilliant musician with a poet’s heart. He and his wife had two sons. The eldest son was bold and adventurous and loved music too, though more for the attention that his talent brought him than for the music itself. The younger brother was just like his father, who loved the music for its own sake. And when the father died, it was the younger son that he gave the guitar to. But the older brother was a jealous sort, always seeing himself as second place, even though he was the oldest. He was determined to be liked, and cultivated a fine and charming manner in order to endear himself to those around him, but he could never match the simple sincerity of his younger brother. They were both talented, but when they performed together it was easy to see whose heart was really in the music. They travelled together, performed together, and all that time the older brother’s jealousy festered within him. Until one night, after a particularly bad fight and a few too many drinks, he smothered his brother in his sleep.

The death was mourned as a tragedy, a sudden failure of the heart in a time where forensic evidence and investigation barely existed. Nobody even considered the possibility of murder.

The older brother inherited the guitar by default, and did become a fairly well renowned musician on his own. He would never admit that the guitar that had become his trademark never sang as beautifully for him as it did for his father and brother. He performed until his death in 1931, when an earthquake caused the roof of the theater he was rehearsing in to collapse on top of him, burying him alive.

The guitar was salvaged from the wreckage without a scratch on it and was held in private collections until the mid-1990’s, when it was installed as part of a music history exhibit in a local museum. Stories say that sometimes, late at night, you can still hear the sad melody it plays, mourning its lost musico.

“You gotta write that,” Miguel insisted after hearing what she’d planned. “What happens next? Is that it?”

Nell laughed. “Nah, that’s more of the backstory that sets up the main plot. The main character is a paranormal investigator who heard the stories of the ghostly music, so he breaks into the museum at night. Next thing he knows he’s seeing ghosts everywhere, and the guitar quite literally seems to have a mind of its own and won’t leave him be.”

Miguel snickered. This was going to be fun.

“For real, though. You’re okay with me writing this? If you’re not comfortable with it, you’ve got to tell me. There’s no time-limit so I have all the time in the world to think up something else.”

He shook his head. “No, I like it. It’s different. And I like the guitar being the narrator. That’s kinda cool.”

Nell sighed with relief. “Okay. Okay. Cool. But like, if you ever change your mind, let me know.”

“I will,” Miguel promised.

They walked for a while longer, taking in the quiet, their path taking them past the painted gate of the Rivera house. Dante trotted companionably at their side. They’d discovered when they met up that night that the little xolo could indeed see them when they were projecting, and after spending several minutes jumping all over them, he designated himself their official companion for the evening.

“So what did you and abuelita talk about when you were touring the shop?”

“Ah, not much. Got a little more on the history of the business. Some of the process. Your abuelita is really determined to get me into a decent pair of shoes.” Nell chuckled.

Miguel snickered. “Fifty pesos says you’re in a pair if Rivera shoes by Christmas.”

“You’re on. And I’ll put my winnings towards buying my pretty new Rivera shoes after New Years.”

“Hey!” He laughed. “That’s cheating.”

“You set the rules, not me.” She reminded him. For a moment she was silent, then she spoke again. “Your abuelita is really proud of you, you know. Your whole family is. You can see it in their faces when they hear you play. I’m glad I got to meet them tonight.”

“They really like you,” Miguel told her. “And Tia Gloria really wants your cookie recipe. Benny and Manny would have eaten all of them if they could have.”

Nell laughed. “I’m glad I passed inspection. They were definitely a little concerned about me at first, not that I blame them.”

“What? Why?”

“Because it’s one thing for their fourteen year old to have adult friends among the local musicians, but it’s a little different when he’s suddenly friends with a random tourist eleven years his senior.”

She had a point. And it wasn’t like either of them could explain the particular circumstances behind them becoming friends to begin with, not without earning themselves a happy little trip to the hospital in the city for a psych evaluation.

What Nell didn’t tell him was how worried his family had been for him over the past few months. They’d known he wasn’t sleeping well, but as he refused to tell them what was going on there was nothing they could do. He’d been doing so much better since summer ended. He no longer came to the breakfast table with tired eyes, dragging his feet -- or at least, no more than any other young teenager. A question had been left unspoken of whether he had told Nell about what had been bothering him, to which she’d had to claim complete ignorance.

“Side note: I don’t know how the hell you survived that music ban,” Nell confessed, shaking her head. “I’d have completely lost my mind.” Music had always in some way been on the periphery of her life. She couldn’t imagine being cut off from it.

“I felt like I was some days,” he laughed. “And I was raised into it. Mama had to give it up when she married Papa and I don’t know how she did it.”

“People will do a lot for love. If it meant being with your Dad, it was probably a sacrifice she was willing to make.”

Miguel nodded. He’d almost made the same one before Hector and Mama Imelda had sent him back. To be able to return home and have a chance to save Hector, he’d have given up music without a moment’s regret. “Could you do it?”

“Give up music for someone?” Nell asked. “Don’t know. There’s never been someone that mattered enough that I would consider it. If it was the right person, I think I could. But then if it was the right person, I wouldn’t have to.”

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

And there ends chapter 5! We met the Riveras, Nell finally got her plot sorted out, and we got to see Dante!

Next chapter will be the start of Dia de los Muertos, so buckle up buttercups because it's going to be a wild ride.

#coco #pixar coco #coco fanfiction #coco 2017 #miguel rivera #a year in the life

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By Jessica Jones

17 December 2018

A pessebre, a Catalan nativity scene, contains all the usual suspects. There’s Mary and Joseph gazing down lovingly at baby Jesus, sleeping in his manger. There are the oxen, gently lowing, and perhaps some shepherds. But look closer, and hidden among the traditional characters is a little figure, trousers down, doing his business right in the middle of the holy scene.

The caganer – literally ‘defecator’ – is a staple of Christmas in Catalonia in north-east Spain. The traditional figure depicts a peasant wearing black trousers, a white shirt and the classic red Catalan cap – the barretina. He may also be smoking a pipe and reading a newspaper.

It’s like the funny part of something that is supposed to be very serious

“It’s like the funny part of something that is supposed to be very serious – the nativity,” laughed caganer collector Marc-Ignasi Corral, 53, from Barcelona. Yes, the figure is so popular it even has its very own society, the Friends of the Caganer Association (L’associació Amics del Caganer), of which Corral is a proud member. Founded in 1990, the society has around 70 members – some from as far afield as Mexico – who meet twice a year.

Traditional caganers are made from clay, fired in a kiln of more than 1,000C, then hand-painted. As the industry has grown, the caganer has evolved; now there are many different kinds, both in design and material.

“I’ve got ones made of soap, I’ve got chocolate ones, but those are meant to be eaten of course,” said Corral, whose bookshelves are dotted with his collection of more than 200 caganers. “I’ve got glass ones… I’ve seen them made from Nespresso capsules.”

View image of The caganer, or ‘defecator’, is a staple of Christmas in Spain’s Catalonia region (Credit: Credit: Campillo Rafael/Alamy)

You may also be interested in: • Is this where Santa is really from? • Europe’s terrifying Christmas tradition • The Guatemalan deity of vice

Firmly planted in folk tradition, the roots of the caganer are vague, but generally agreed to date from around the late 17th or early 18th Century when the prevailing Baroque tradition, both in Catalonia and beyond, focused on realism in art, sculpture and literature. In their book El Caganer, authors Jordi Arruga and Josep Mañà write: “This was a time characterised by extreme realism… all of which relied heavily on descriptions of local life and customs. Here, working conditions and homelife were used as artistic themes.”

One real-life depiction was the caganer.

The reason it has been passed down the generations, however, is clear: the idea of defecating has long been linked to everything from good luck to prosperity to good health.

“Excrement equals fertilisation equals money equals luck and prosperity. Or so say the anthropologists,” said historian Enric Ucelay-Da Cal, emeritus professor at Barcelona’s Pompeu Fabra University.

“It is said that to not put a caganer in the crib will bring bad luck,” added caganer maker Marc Alos Pla, whose family runs caganer.com, the world’s biggest caganer producer. This year he predicts sales will surpass 30,000.

View image of The caganer is believed to date back to the late 17th or early 18th Century, when realism was the focus of art (Credit: Credit: Miquel Benitez/Getty Images)

And far from seeing the caganer as uncouth or even graphic, Catalans have a relaxed view of them as merely depicting a natural act.

“We don’t see it as rude. I mean as rude as when you go to the toilet,” Corral laughed. “We hide things – we’re in a society where we’re hiding everything. We hide death for instance.”

Furthermore, Catalans do not stop at one Christmas tradition.

Caga Tió, literally the ‘Defecating Log’ (also called the Tió de Nadal, the ‘Christmas Log’) is also a staple in many Catalan homes in the run-up to Christmas.

It has a pleasantly subversive quality, naughty but nice

On the feast of the Immaculate Conception, on 8 December, families start ‘feeding’ Caga Tió scraps of food. He is covered with a blanket to keep him warm until, on Christmas Eve or Christmas Day, when he has had enough to ‘eat’, the children hit him with sticks while singing a song that encourages him to defecate:

Caga tió / poo log Caga torró, avellanes i mató / poo nougat, hazelnuts and mató (cheese) Si no cagues bé / if you don’t poo well, et daré un cop de bastó / I’ll hit you with a stick Caga tió / poo log!

For the log doesn’t produce any old excrement… he defecates Christmas presents.

Before hitting the Tió, children go to another part of the house to pray for him to bring them gifts, while their parents take the opportunity to stash small treats like Christmas sweets under the blanket.

“The Tió seems to be a pretty old Christmas idea… in medieval times it was found all over Europe, from Scandinavia down to the Western Mediterranean: the idea of a ‘Yule Log’, which lasted until about World War Two,” Ucelay-Da Cal said.

View image of Another Catalan Christmas tradition, the Caga Tió defecates presents after children hit him with a stick (Credit: Credit: Emilio Ereza/Alamy)

What is it about these traditions, which in other parts of the world might be seen as explicit or rude, that attracts so many Catalans?

“I love the transgression of norms, the tradition they represent and the artwork in itself,” Corral explained, while Ucelay-Da Cal said the caganer “has a pleasantly subversive quality, naughty but nice, as it were.”

In fact, the themes of defecation are reserved not only for Christmas, but run like a common thread through Catalan culture, from idioms to art.

“This fits in with a Catalan (and Spanish) taste for egalitarianism: everybody [poos], however important they may be,” said Ucelay-Da Cal.

View image of Catalans have a relaxed view of the caganer, seeing them as merely depicting a natural act as opposed to being uncouth (Credit: Credit: Miquel Benitez/Getty Images)

When it comes to language, Catalan is filled with stool-related sayings and idioms. Where in English we might say two extremely close people are ‘as thick as thieves’ and in Spanish that phrase would be ‘como uña y carne’ (like [finger] nail and flesh), Catalans say two are people are like ‘cul i mierda’ – backside and excrement.

“There is a cliché that Germanic languages are [full of] faecal metaphors, while Romance languages stress virility. Certainly the Spanish tradition – and very specifically Catalan scatological custom – would deny this affirmation,” Ucelay-Da Cal said.

Defecation has also appeared in Catalan art and literature going back hundreds of years.

Everybody poos, however important they may be

In his book, Barcelona, which looks at Catalan history, art and culture, art critic Robert Hughes writes that the figure of the caganer “makes an unmistakable entrance into 20th-Century art” in the work of Joan Miró.

Look closely at Miró’s 1921-22 painting The Farm, and you will see what looks like a small child squatting close to his mother while she does the washing.

This boy, Hughes writes, “is none other than the caganer of Miró’s childhood Christmases. It may also be Miró himself, the future painter of Man and Woman in Front of a Pile of Excrement (1935).”

View image of The theme of defecation fits in with a Catalan (and Spanish) taste for egalitarianism (Credit: Credit: Campillo Rafael/Alamy)

Catalan writers, too, have long depicted the scatological, with Hughes arguing that it is firmly entrenched in Catalan folk tradition. “…There has always been a vigorous strain of scatological humour in [Catalan] folk songs, folk poetry and educated verse,” he writes.

He cites one verse in particular, in the 13th-Century Versos Bruts (Coarse Poems), which recounts a discussion between two nobles in which they describe “One hundred noble ladies who went to sea in a boat and, becalmed, got back to shore by farting in chorus into its sails.”

One area of Catalan culture you might assume stays firmly away from the scatological is food – but, inevitably, you would be wrong. Feeling peckish, you might wander into a Catalan bakery and be confronted with a popular baked good known – rather unappetisingly – as a ‘pet de monja’, or ‘nun’s fart’.

View image of A caganer of a yellow ribbon, a symbol of solidarity with Catalonia’s jailed independence leaders, should be a bestseller (Credit: Credit: LLUIS GENE/Getty Images)

And even Catalan politics has taken a toilet-humour turn, with the region’s strong independence movement reflected in recent caganer bestsellers. Exiled former regional president Carles Puigdemont is a favourite, and in 2017, a Tweety Pie caganer sold out (when the Spanish government sent in extra police to control the 2017 independence referendum, they slept on a ship whose exterior featured a gigantic Tweety Pie).

In 2018, a caganer of a yellow ribbon sporting a pair of big eyes and a mouth depicting the symbol used in solidarity with Catalonia’s jailed independence leaders – is expected to be a bestseller.

The caganer is now turning into a way of keeping a memory of living history

“It’s a reflection of what is happening,” said Corral. “The caganer is now turning into a way of keeping a memory of living history. It’s a reality. We have political prisoners.”

While caganers have not reached the worldwide ubiquity of the Christmas tree, they are becoming increasingly well known outside Catalonia. The figures have long been a tradition in areas of Portugal and Naples, Italy, and are also gaining fans further afield.

“In the caganer society we have members from Italy, Germany, Japan, the United States, so it’s an international society,” Corral said.

In fact, around 50% of caganer.com’s foreign sales are shipped to the US, according to Alos Pla, with popular figures including Barack Obama and Hillary Clinton. Alos Pla predicts that Donald Trump and David Bowie will sell in large numbers this year.

View image of Today, many celebrities, politicians and even popular fictional characters have their own caganer (Credit: Credit: Toni Vilches/Alamy)

Whether you give someone a caganer of someone they love or loathe is up to you – but many people take it as a compliment:

“For many famous people it has become an honour to have their own caganer,” said Alos Pla.

Corral is more blunt. “I mean if you don’t have a caganer, you are nobody nowadays.”

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BBC Travel – Adventure Experience

#Discover - Experience

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