Tuesday, April 9, 2013

Correspondence 7/8/09 15:21 - 7/13/09 17:57

   After a pause (which makes it kind of herky-jerky to start up again,) we finalize the name of the second book, I quote Roger Waters, and we demonstrate why I can't post very many of our correspondences, aside from the inherent spoilers of brainstorming plot points: namely, a lot of it is freaking boring pointless crap.

Book II
From POMegranate to Persomem   Jul 8, 2009 3:21 pm
Impetus.

Hello?
From POMegranate to Persomem   Jul 12, 2009 9:15 am
Hello?
I love you.
Is there anyone in there?

Re: Hello?
From Persomem to POMegranate   Jul 12, 2009 4:11 pm
Why yes there is someone.
Someone with erratic computer use and sleep schedule.
I've been really out of it lately, and for that I apologize.

Re: Hello?
From POMegranate to Persomem   Jul 12, 2009 7:07 pm
Shweet, so you
're not grounded or anything.
I too have the awful sleep schedule.
But could you at least, I don't know, post updates, or progress reports, or something?
Seriously man, I was just about to send the Letheans over there to check up on you.
But how about Impetus? Is that good?

Re: Hello?
From Persomem to POMegranate   Jul 12, 2009 9:13 pm
I like Impetus, actually, I think it works quite well.
Also, how does... in the medium sense of this project... a text adventure sound? Just as a fun retelling.

Re: Hello?
From POMegranate to Persomem   Jul 12, 2009 9:27 pm
I shall edit the page to reflect the new title
and fun, but, is it necessarily productive?
Yeah, probably.

Re: Hello?
From Persomem to POMegranate   Jul 12, 2009 9:31 pm
Well, I've played quite a few lately, and some are very immersive and highly story driven.

Re: Hello?
From POMegranate to Persomem   Jul 13, 2009 11:54 am
Excellent, well, but how do you propose we do this?

Re: Hello?
From Persomem to POMegranate   Jul 13, 2009 5:16 pm
I downloaded a program that allows you to make them remarkably easily.

Re: Hello?
From POMegranate to Persomem   Jul 13, 2009 5:38 pm
Amazing! Finally! All my wildest text-based adventure dreams have come true-er than they were twenty-two minutes ago.

Re: Hello?
From Persomem to POMegranate   Jul 13, 2009 5:40 pm
I know, right?

Re: Hello?
From POMegranate to Persomem   Jul 13, 2009 5:49 pm
Well. This isn't very productive, just sitting around agreeing with each other, right?

Re: Hello?
From Persomem to POMegranate   Jul 13, 2009 5:50 pm
But of course.

Re: Hello?
From POMegranate to Persomem   Jul 13, 2009 5:52 pm
I knew you were gonna...

Re: Hello?
From Persomem to POMegranate   Jul 13, 2009 5:54 pm
You led me into it.

Re: Hello?
From POMegranate to Persomem   Jul 13, 2009 5:54 pm
Kind of.

Re: Hello?
From Persomem to POMegranate   Jul 13, 2009 5:57 pm
Yeah...

Monday, April 8, 2013

Change

   I'm leaving, going to leave, as I write this, and will have been gone by the time you read this. It's weird. But that's not the weird part.

   Any degree of change in the status quo is strange by itself. But by far the most surreal aspect is our degree of acceptance to that degree of change. "People," said the Greek philosopher Epictetus, "are disturbed not by things but by the view which they take of them."

Sunday, April 7, 2013

Thespis Strip Dated Sunday, April 5, 2009

Click to embiggen.
TRANSCRIPT: 
Collin: Hello out there.
*(Editor's Note: Last week's Flock of Seagulls haircut noticably [sic] absent)
Collin: In keeping with the maxim that comedy comes in threes, we have decided to introduce a new, third character: The Ankh!
Ankh, thinking:
Collin: The Ankh is the Ancient Egyptian symbol of Death. I'n't that cheery!?
Ankh, thinking:
Ankh, thinking:
Ankh, thinking:
SFX: WUMPH
Collin: WELL SAID, ANKH!
Marvin: We're just kidding.

NOTES:
   I think this might be a Discworld reference. An ankh? Like, Ankh-Morpork. Mmm. The ankh isn't a symbol of death, by the way. Quite the opposite.  But this is far funnier. "I'n't that cheery!?"

Saturday, April 6, 2013

Mission: Impossible: Ghost Protocol

   The scene where Anil Kapoor's character leaves Paula Patton's character at the same time we left Jeremy Renner's character hanging (kind of literally, but without wires.) All we know of his fate is that Jane is crying, and we hear over Tom Cruise's character's headset: Jupiter, he's gone. She's talking about Brij, and crying because she was acting for him, but that's not what it looks like.

   So wait, what? Jeremy Renner just... died? Pretty dark for a film series that starts out with the main character of the show getting brutally murdered only to have his assassin take on his identity in a scheme to sully his good name and drag his wife into it too, presumably to ruin it for the rest of his family including Angelina Jolie (that's in the fanon somewhere, right? Something like that.)

Friday, April 5, 2013

Mission: Impossible III

   In Mission Impossible: Ghost Protocol, Brad Bird reference several times the sequence A113, a nod to his previous work at Pixar. This is the question: what if Abrams had done that with Slush-O? That would effectively place the entire Mission: Impossible franchise in the same continuity as Star Trek, which would be problematic, at best, seeing as how both shows often shared the same cast and crew.

   Forget the Tommy Westphall stuff, even without it that would in itself be problematic. This would be a direct crossover. A crossover of a crossover isn't necessarily canon, though, so maybe not.

Thursday, April 4, 2013

Mission: Impossible II

   Say what you want about Mission Impossible 2, but it set a precedent for the series: each installment would have its own tone and style, reinventing the formula instead of repeating it. And even the weird over-the-top John Woo stuff can make sense in-universe.

   The events of a film are canon, the directing isn't. In this segment of Ethan Hunt's life, the producers knew there would be doves, and some randomly exploding motorcycles, so they hired John Woo to direct. Makes perfect sense.

Wednesday, April 3, 2013

Mission: Impossible 1

   Another take on Mission: Impossible: there's a lot of complaint that Jim Phelps, the main character of the original television show, turns out to be the bad guy here. But I see it as a deconstruction of sorts of IMF's apparent recruitment process: it's actors! Disguise artists and magicians and super models.

   The IMF hires a bunch of performance artists! There's always the theory that the movie's "Jim Phelps" was just a disgruntled Dan Briggs in an IMF mask, which makes some amount of sense and is pretty mind-bending in and of itself. And which I may have just made up myself? I don't know; it's been a while.

Tuesday, April 2, 2013

Original Chapter One, Part Two

"Grand Altesti Hotel, Grand Altesti Hotel..." Rem repeated, thumbing with one gloved hand through a phone book, huddled in a phone booth not far from the station. He held a slip of paper in his other hand with the hotel name written on it, and pinned the phone's receiver between his neck and shoulder.
"Here we are." he said, pocketing the slip of paper, and entering the long number into the keypad. He set the phone book back down on the low shelf in the booth, grabbed the receiver in one hand, and straightened his shoulders.
There was a moment of silence, then came a voice from the other end of the line.
"Hello, this is the Grand Altesti Hotel, how may I help you?" asked the pleasant voice of a young sounding woman.
"Hello, yes, my name is Oreth Allmahn, I've a reservation."
There was a sound of shuffling papers on the other line, as well as the faint sounds of business as usual.
"Oh, yes, Mr. Allmahn!" the young woman said, as if in apparent realization of an obvious fact, "You're our very special guest. I've been instructed to send a driver to pick you up, is that correct?"
"That's what I was told from the main office in Steinway."
"Well then, we'll send someone right away. May I ask from where you are calling?"
"From the train station." he said, dryly.
"Oh, of course." she said, sounding rather embarrassed. After a short silence, the young woman spoke again, "Well, a car has been sent, and will be arriving shortly."
"Thank you" said Rem, mechanically.
"I apologize in advance for the time it will take to arrive. Goodbye."
"Goodbye." Rem said, hanging the phone up.
Rem left the phone booth and crossed the street to get back to the station, where he sat on a bench to wait. He sat nearly motionlessly, watching people walk by.
Rem sniffed and shivered a bit, and held himself a bit tighter. It had begun snowing almost as he had arrived in Altesti, and what little sunlight he'd seen while on the train was gone now.
"Why's this city got to be so bloody cold?", he thought, "I thought we'd traveled south from Steinway."
Looking around him, Rem noticed the life of the city, so many people going to and fro, despite the cold.
In the distance, there were few skyscrapers to speak of, but a wide array of buildings of various heights none the less. The architectural style was slightly different from the buildings he'd seen back in Steinway, which, being the capitol, had a great amount of rustic looking buildings, to promote a sense of permanence. Here the designs were more practical, and abounded with the personal touches of their inhabitants.
The people who traveled by were of diverse ethnicities and clothing styles, giving the city a cosmopolitan air about it, at least in Rem's mind.
Cars drove by endlessly, mostly large, commercial vehicles, come in from the highway that led out of the city, following the same path of the train which he had come in from. Of the few private vehicles, he saw groups of happy, adolescent occupants within.
While watching just one such car drive by, he noticed a black car pull in near where he sat. As the door opened, a middle aged man clad in driver's uniform and cap, with a bulbous nose, receding hairline and bright eyes stepped out.
"Mr. Allmahn, I presume?" he asked, approaching the bench.
"Yes. And you're here to take me to the Grand Altesti Hotel, I take it."
"Of course sir." the driver added, with a smile.
Rem stood up and brushed the bits of snow that clung to him off his clothes. The driver opened a door on the second set of doors on the elegant looking car.
"Get in sir," he said sympathetically, "you must be damned cold."
"Thank you" said Rem. He got into the car, and as the driver shut the door for him, Rem took off his outer cloak-like apparel and fastened his seat belt. The driver entered the car and fastened his seat belt as well, and adjusted the seat and mirror's slightly.
"Well, best be on our way then" the driver said, starting the engine and adjusting his cap.
The driver shifted into drive and carefully pulled into the coming stream of cars.
"My name is Elvie Winton," said the driver, " though I doubt you care 'bout that much" he chuckled.
Rem, not quite sure how to respond, didn't.
"Want to hear a bit 'bout this city then?" Winton asked. "Well I'll tell you then," he said, not giving Rem a chance to answer.
"This is the city of Altesti, of course; founded in... well some odd year." Winton explained. "I'm from a little town called Erry, not but forty-five kilometers west of Penspire, which is near ol' Steinway, so course I don't know too much 'bout this place, not even really part of the country yet, still in the status of 'Territory'."
"Well, anyway, used to be the capital of some little country a decade or so back, before our country, The Persistence (always thought our nation'd a bit of an odd name) came in and adopted the place, so to speak."
Winton took a sharp turn that made Rem shift dramatically in the car. They had just passed a building that seemed to be the capitol building, with a crowd of protesters out front. Winton seemed to notice, but not care, so Rem assumed it was a common enough occurrence as to shrug off.
"But before The Persistence came in, this grand little place used to be not much more than a ruddy little coal mining town. Was as dirty as can be."
"And that's 'bout it, nothing really more interesting ever happened here or is happening. It's that sort of place." WInton said, seeming to have finally stopped his rambling.
The car made another sharp turn, and passed by what appeared to be the city's shopping market, where droves of people were walking and driving about.
"Tell me 'bout yourself Mr. Allmahn, what kind of man are you?" Winton asked after a long silence.
"Well, what kind of man do you think I am?" retorted Rem.
"I've been around for some time, Mr. Allmahn," started Winton, "and I must say, you're a most peculiar gentleman. You don't hardly say a word, and I can't judge what kind of person you are at all. So I ask again, what kind of person?"
"I'm a determined man."
"Oh? And what are you determined to do?"
"The very thing I've come here to do, to find my sister, she's been missing for almost a month now."
"Your sister, you say?" Winton inquired, rather curiously, "What's she like?"
"Her name is Anakaitsie, she's the only family I've got. She's a brilliant, unique little girl." Rem said, sounding rather nostalgic.
"To what extent would you go to find her?" Winton asked, preforming an elaborate maneuver through a fleet of cars.
"Any", Rem stated resolutely, gripping onto the white leather interior, in an attempt to remain upright.
"Now that's devotion," Winton said with a sincere smile, "it's rare to see that sort of thing in kids these days." He stabilized the car and Rem relaxed in his seat.
Looking out the window, Rem spotted the Grand Altesti Hotel, a few blocks away, a magnificent building, ornate yet functional, an admirable design.
"Well, we're just 'bout here now." Winton remarked, proudly.
The car pulled into the enclosed front lot of the hotel, rounding in on a drop off section where employees in uniform with luggage dollies bustled about. Winton parked carefully, turned off the engine, and stepped out. He made his way to the back and opened Rem's door.
Rem got out uncomfortably, his height making it somewhat difficult to get in and out of smaller cars, and stretched his back and arms.
"Well, the lobby's through here," said Winton, pointing to the large, automatic glass doors at the entrance, "I've got to be going, I'm afraid." He worked his way back into the car, started the engine, and, with a wave in Rem's direction, he sped off into the traffic.
Rem smiled a small, almost imperceptible smile, and walked through the large doorway.
Inside the door was a large expansive room, with a high ceiling, and many corridors, lined with paintings and potted plants, and jostling with men in business suits, and the occasional family.
Rem walked up to the front desk slowly, still taking in his surroundings. As he approached the desk, the young, blond woman behind the counter greeted him curtly.
"Welcome to the Grand Altesti Hotel, may I be of assistance?"
"Yes, I've reservations here, I'm Oreth Allmahn." he said, without emotion.
"Oh yes, we talked over the phone." she said, delightedly, "I didn't think you'd be quite so young, or good looking from the sound of your voice. I'd expected you to be another stuffy old businessman, by the importance of your case."
"Sorry to disappoint," Rem said, with a slight tinge of sarcasm, "now, where is my room?"
"Oh! Sorry, I didn't mean to bore you, I've a habit of talking too much." she stated, apologetically.
"Not a problem," Rem politely explained, "seems everyone's been doing it."
"You must be referring to Mr. Winton." she said, cheerfully, "yes, he's quite the talker, usually a hit with the customers."
"Yes he certainly talked... Well, my room?" Rem added, once more without emotion.
"Ah!" she exclaimed, her face turning a shade of red, "I'm sorry, I did it again. Here you are," she said, handing him a set of keys with a thick plastic tag binding them with the text: "ROOM No. 748" printed on both sides, "Please enjoy your stay with us."
"Thank you." said Rem, taking the keys from her hand, and seeing her blush as his hand touched hers, smirked a bit.
Rem checked a sign on the eastern wall in the lobby, stating where rooms could be found by number. Rooms 600 through 800 where listed as being on the fourth floor, to get to which, the elevator on the lobby's eastern wing would have to be used.
Walking only a short distance, and, rounding a corner, Rem made it to a large area where four elevators were at work. The elevator second to the right opened up, and a group of businessmen stepped out, discussing politics, Rem assumed, having heard them talk about the "Loffman Administration", and its various faults. Ignoring this, Rem stepped into the elevator interior, and pressed the button marked "4" which lit up, and the doors began to slowly close. The lift went clear up, with a window to its back, causing Rem to feel a bit uneasy looking out.
Even so, Rem found the view fantastic, to be able to look out on the city, and to see all its intricacies, its people and places in all their myriad beauty, all bathed in a fresh snow, was a breathtaking experience.
As Rem gazed on, the elevator doors opened behind him, startling him slightly. He regained his composure, and exited the lift.
Rem walked through the vacant halls of door after door, counting the number plates on the doors, as they gradually became larger, from 600 up. As he got into the 700's the doors began to have greater space between them, seemingly so that the rooms would have greater room within them. He went further and further down until he reached room 748, as printed on his keys. He inserted the largest key into its hole and turned. The door gave way, and he was greeted by the rooms beautiful interior; a large beautiful bed, small dining area, a variety of plants, and a large television and stereo system in the corner. The room's most fetching feature, however, was the large window over looking the city, sealed tightly to keep the cold out, but with a balcony and chairs arranged outside it.
Upon entering the room, Rem noticed a note upon the table nearest the door, which read:

I hope you find this room to your liking, it was chosen especially to suit your needs, and to aid in your search. Try not to be too serious, there is much opportunity for leisure here, don't squander it like you used to always do. Please remember to report in to the Steinway offices regularly.

Signed, S.K.
The note was written in rather childish handwriting, and Rem could not for the life of him recall who this "S.K." fellow was, nor how he seemed to know him as well as the note implied.

Monday, April 1, 2013

Original Chapter One, Part One



My sister… They’ve taken her. They’ve taken my sister.
Why? I don’t know why. All I know is that I promised to her that this wouldn’t happen again. And I failed her.
I failed her, like my father failed me. The one man I promised I would never become, I am turning into. And it’s ripping me apart.
I can’t think straight anymore. My memories have become foggy; Either I am thinking of her more and more, or I am thinking of everything else less and less. The only ones that are making any coherent images in my mind are of her. My sister.
Kite.



   "The weather's been rather nice lately, don't you think, dear?" said the woman occupying the train car's uppermost seat.

   "I suppose so," said the gruff man to the left of her, "But it's hard to enjoy with all this news of riots and armed conflict in this horrid little territory. Why the state, or even my own department, wanted it is beyond me."

   "For the oil reserves, I've heard," said the woman absentmindedly, staring out the window, watching the scenery gradually change, seemingly from one world to the next.

   "Ah, yes," said the man mournfully, "consul Loffman, and his Labor Party, always after their oil, scarcely concerned for the well being of the common man."

   "Or woman," she added, still staring out at the landscape as it rapidly became greener, departing from the cold wastes behind them.

   "You know what I mean," the man chuckled, " but really," he added gravely, "had I known working for the census bureau would take me to such remote, dangerous little areas, I might have thought twice about taking that job offer," he finished, sternly.

   "But it pays so well," the woman said, thumbing through a magazine that was lying in the rack above her seat.

   "Which of course, we'll need the money, what with a baby coming along," the man said pleasantly, patting the woman's stomach.

   "But I just wish we didn't have to travel so much, it puts such a strain on you, and I imagine, the baby. If only we coul---"

   The man and woman jumped, as well as the car's third occupant, to an explosion not far away.

   "Must be those rebels," said the man, half bitterly, half exasperatedly, clutching his wife in his arms.
At this, the dark haired young man in the corner ceased his furious scribbling on his bit of paper, and began to be noticeably interested in what the man had to say.

   He was a man of roughly twenty, tall and thin, yet well proportioned, very pale in complexion, with a pair of dark, slanted eyes.

   He leaned forward slightly, his length of black hair falling forward to conceal his eyes, to better listen in on the couple at the other end of the car's conversation.

   "So many groups opposing the state these days," the man began, zealously, "and for what? Our nation is the pinnacle of liberty on this continent, one of the few democracies in this sea of communist, fascist, and, God forbid, theocratic nations. What are they protesting?"

   "But I'm sure you know what I mean, eh?" said the man good humoredly, motioning to the young man in the corner, dressed in a dark, somewhat ornamental, military uniform.

   The young man leaned back, his hair falling into place, revealing his eyes. Though his hair still seemed pushed forward, as if by a backwind; all but for a small bit in the back, sticking off in the opposite direction, defying convention.

   He paused for a moment, as if choosing his words carefully.

   "Of course," he said, in a voice that was soft yet cold.

   The man laughed uncomfortably after the response, and the woman seemed oddly attentive.

   The young man made note of their reactions. The couple stared on, as if trying to place a familiar face, at his distinct appearance. After a moment, the two of them seemed slightly shocked.

   "Say... what's your name?" the man finally asked, slowly.


   "I'm Oreth Allmahn," he said, in the same softly cold voice, though this time more politely, "but I much prefer to be called Rem."

   There was a long silence, punctuated only by the rhythmic sound of the train on its rails.

   "Oh, I'm sorry, it's just you look... so distinctly like...," the man began. "Never mind, it doesn't matter."

   There was another otherwise silent, rail clacking silence.

   "The train will be arriving at the station in Altesti shortly," came the voice over the intercom.

   "You'll be getting off in Altesti, I presume?" asked the woman to Rem, gazing at the window at the arising cityscape.

   "That's the plan," Rem said, going back to his writing on the hanging table retracted from the seat in front of him.

   After a short while, the couple began conversing again, and Rem, apparently done writing, folded the paper and tucked it into an already addressed envelope, and slid it carefully into his shirt pocket without sealing it.

   As Rem was no longer occupied with his writing, he began to stare out the window, resting his chin in his palm. His face belied no particular emotion, and his eyes focused on nothing specifically.

   Outside, buildings, homes, and people going about their daily lives came into view and rushed by just as quickly, as they began to enter the city. There was a thick overcast of clouds, with a part or two letting sunlight in in magnificent pillars of light in the afternoon air.

   "We are now arriving in Altesti station," spoke the intercom, "please remain seated."

   The car's occupants shifted, collecting what they could of their things while still seated.

   Rem had few things to collect, the rest of what remained on the table in front of him, he pocketed these small items, and pushed the table back into the back of the seat in front of him. He positioned himself in his seat so as to allow an easy exit, and set one hand on the crumpled pile of cloth next to him, in the seat nearest the aisle.

   The train was in the process of braking, slowing more and more, the urban scenery no longer rushing by, faces now becoming individually discernible.

   The incessant sound of wheels clacking on rails that filled the train ride's silences lessened in tempo, as the train came to a soft stop.

   "Thank you, the train has now come to a complete stop," the intercom sounded once more, "it is now safe to exit."

   With an electronic beep, the doors opened automatically, and a cacophony of human voices, automobiles, and a wide variety of other sounds filled the car.

   As the couple was busy grabbing their array of luggage from the racks above their seats, Rem picked up his cloak-like article of clothing from the seat next to him, and draped it about his shoulders. It came down a little past the waist, and he fastened it tight at the neck, and made his way to the door.

   As Rem left he was powerfully greeted by the sounds, smells, and most notably, the cold of the city. Holding himself in an attempt to stay warm, Rem walked off the station platform, and into the city of Altesti to do what he'd come here to do, to find his missing sister.

Sunday, March 31, 2013

Correspondence 6/28/09 20:23 - 20:58

   It's tough to pin a name down on the Mad General, yet we continue to try anyway. No fear, true believers, we do eventually come up with it, and we're on the right track here.

Re: Suggestions
From POMegranate to Persomem   Jun 28, 2009 8:23 pm
Well, the Arthos Nycaster quote is a good start, but yeah, the train.
(Speaking of Nycaster, isn't "Ny" like a Persistence version of "Mc"? So should he General be named, Like, Caster Nyflannigan or sommink?)

Re: Suggestions
From Persomem to POMegranate   Jun 28, 2009 8:26 pm
Alright, quote first, then train. Also, what are we trying to make people feel for Nephyrem in the beginning? Empathy in regard to his missing "sister"? Knowing would help.
(Yes, we kind of have set that up, huh? Um... Nylynn? Nygrin? Nydus?

Re: Suggestions
From POMegranate to Persomem   Jun 28, 2009 8:30 pm
Well, he is the main character, and he's written that letter between the quote and the story, about how he failed Kite and is becoming more like his father, so...
(And no, none of those, because Nygrin is already more or less a real name, and Nydus is too much like elder Vidus.

Re: Suggestions
From Persomem to POMegranate   Jun 28, 2009 8:33 pm
Well, how about I start with him writing the letter, and show, quoted, what he put in the letter?
(Well then, how about...Nyrand, Nysolen, I don't know, this is hard.)

Re: Suggestions
From POMegranate to Persomem   Jun 28, 2009 8:35 pm
Maybe at the start of the chapter, as if we're going to have notes at the beginning of every chapter kind of thing, but we don't.
(But at least we're finally on the right track. I kind of like Nysolen.)

Re: Suggestions
From Persomem to POMegranate   Jun 28, 2009 8:36 pm
Alright, that can be done, I'm going to try to make it so it's not just: Arthos note, 30 seconds of narrative, bam! Another note.
(Yes, true.)

Re: Suggestions
From POMegranate to Persomem   Jun 28, 2009 8:38 pm
Great. But it's not like the Arthos thing is just a "note." It's more like an intro, Foreword, Prologue kind of thing.

Re: Suggestions
From Persomem to POMegranate   Jun 28, 2009 8:40 pm
Yes, it really sets us all up.

Original Chapter one trial
From Persomem to POMegranate   Jun 28, 2009 8:54 pm
Could you send that over? I can't find any copies of it on my computer, and I figure there are some things from it to salvage.

Re: Suggestions
From POMegranate to Persomem   Jun 28, 2009 8:55 pm
Wait, do you need the letter? Because I've called it up right here if you need it.

Re: Suggestions
From Persomem to POMegranate   Jun 28, 2009 8:55 pm
That would be nice.

Re: Original Chapter one trial
From POMegranate to Persomem   Jun 28, 2009 8:56 pm
Wait, the whole thing? Okay, here goes:

Saturday, March 30, 2013

Correspondence 6/28/09 19:59 - 20:19

Suggestions
From Persomem to POMegranate   Jun 28, 2009 7:59 pm
I'm in a "writey" mood, and, as we've put some work into the development of PoM, I'd like to know if I should try a "chapter 1 trial" again. Or, perhaps, write from another point in the story?

Re: Suggestions
From POMegranate to Persomem   Jun 28, 2009 8:00 pm
Well, [SPOILERS], maybe. Let's start there and hopefully progress to [SPOILERS].

Re: Suggestions
From Persomem to POMegranate   Jun 28, 2009 8:04 pm
Hm, how should I start, specifically?

Re: Suggestions
From POMegranate to Persomem   Jun 28, 2009 8:06 pm
Just about how he's [SPOILERS].

Re: Suggestions
From Persomem to POMegranate   Jun 28, 2009 8:08 pm
Wait, I'm confused now.
This is from chapter one, right?

Re: Suggestions
From POMegranate to Persomem   Jun 28, 2009 8:09 pm
Well, if [SPOILERS] in chapter one, yes.

Re: Suggestions
From Persomem to POMegranate   Jun 28, 2009 8:10 pm
Of... book one?

Re: Suggestions
From POMegranate to Persomem   Jun 28, 2009 8:10 pm
Yeah, when he gets [SPOILERS].

Re: Suggestions
From Persomem to POMegranate   Jun 28, 2009 8:12 pm
Well... um, are we going to flashback to his arrival and all that?

Re: Suggestions
From POMegranate to Persomem   Jun 28, 2009 8:13 pm
Rem's arrival? Oh, like at the train, right? It starts with the train.

Re: Suggestions
From Persomem to POMegranate   Jun 28, 2009 8:15 pm
Hm, I think I like the idea of starting with the [SPOILERS], though. Sets in at an interesting point, pulls readers in. It would just be hard to find a good way to show the arrival.

Re: Suggestions
From POMegranate to Persomem   Jun 28, 2009 8:16 pm
If you don't set up the characters, it's nigh unto impossible to care about them.

Re: Suggestions
From Persomem to POMegranate   Jun 28, 2009 8:19 pm
...Yeah, true.
So, train then? I need to make it more interesting character/world, and less clunky exposition.

Friday, March 29, 2013

Thespis Strip Dated Sunday, March 29, 2009

Click to embiggen.
TRANSCRIPT:
Marvin, thinking: Look at me. I'm an anthropomorphized Drama Mask. How am I physically possible? Am I just hallucinating? 
Oh crap, here comes Collin. Mindless psychological indulgence later...
Marvin: Hey, Collin-
Collin: Hey, Marvin. Say, I've been doing a lot of thinking about what you said, about me just being jealous of your incredible hair. You were right about me. I am just jealous. Or, rather, was.
For now I have incredible hair of my own!
*(Semi-Obscure '80s reference.)
Marvin, thinking: Yep, I'm definitely crazy.
Collin: Yo! 

NOTES:
   A Flock of Seagulls! There was an anime when I was a kid, about the Zodiac I think, that had "I Ran (So Far Away)" play over the end credits. SO that's where that comes from. And also, "Albuquerque" by Weird Al. I'm not sure where the random "yo!" at the end comes from, though, but I think it might be from like Invader ZIM or something? Yo!

Thursday, March 28, 2013

Juxtaposition and Prepositions

   Another great tip for creativity is found through the use of prepositions. You can shake up a juxtaposition of two or more things by exploring all of the prepositional phrases possible to be exploited using it. Take this example:

Mars, and Bathtubs
  • In- Mars in in a bathtub. How can this work? The volume of the planet Mars is 16.318(10^10 km^3)  so it should, if placed in a very large bathtub, displace as much water. I think is how that works.
  • On- Mars on a bathtub? Or a bathtub on Mars? I guess that one makes more sense. All them canals and all that.
  • Around- a bathtub around Mars. Call it Russel's Bathtub.
  • Over- a bathtub, over Mars, floating there like a squeaky-clean monolith. Or Mars over a bathtub, ready to crush it.
  • Between- A Mars sandwich, made of a Mars, a bathtub, and another bathtub.
  • Under- beneath the surface of the Red Planet, something is waiting... being porcelain. Explains all the water they found down there.

Wednesday, March 27, 2013

Connections and Coalescence

   Genius and creativity lie in connections, connecting the unconnected. When you combine the arts or sciences or mathematics, it's called genius, and rightfully so. Connecting the previously unconnected. But when you combine popular culture, it's called a meme. That's kind of hurtful, really. Popular culture should be able to be combined and tweaked and remixed just as much as anything else. Though memes generally show that on the surface. A trope, then. Can't argue against that.

   Is creativity when stuff coalesces? Otherwise it could just be random connecting of unrelated things. That is true creativity: proof of geniuine inspiration. But it could also be little more than luck, making it up as you go and happening to have it connect wonderfully. It could be seeing how some things would fit together nicely later on.

   So you plan things to be brought up later on, setting things up even if you're not sure what that will be.

Tuesday, March 26, 2013

Correspondence 6/28/09 17:03 - 17:48

   After discussing how [SPOILER] might die in PoM, we talk about the unfortunate mortality of some of our favorite celebrities. Remember back in 2009, when celebrities were dying off left and right? Yeah. A DEPRESSING VERSION OF HANUKKAH. From discussion of how exactly we'd kill off [SPOILER], we focus on possible character development, possibly extending to a possible sequel trilogy.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:03 pm
I don't know. I think he gets assassinated through his window.

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:06 pm
I WAS THINKING IT MIGHT HAVE SOMETHING TO DO WITH THE FINAL BATTLE BIT.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:08 pm
Are you typing this from your Wii?

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:09 pm
NO, I'M JUST TYPING IN ALL CAPS TO COMMEMORATE THE PASSING OF BILLY MAYS.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:09 pm
Holy crap, not another one!

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:10 pm
I KNOW, RIGHT?
THOUGH, WITH BILLY MAYS, I FEEL I HAVE LOST A FOE.
...IT IS NOT AS GOOD A FEELING AS I'D HAVE LIKED.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:12 pm
Oh man, please say it's not gonna be Christopher Lee next.

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:13 pm
IT VERY WELL COULD BE! NO ONE IS SAFE.
...WELL, NO FAMOUS PERSON ANYWAY.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:13 pm
Or Stephen Hawking.
Anyone besides a list of 11 other people but those two.

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:14 pm
AND I DON'T WANT...
WELL, THERE ARE A FEW.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:16 pm
And to think I thought that Michael Crichton would be the end of it.
2009: Only the Good Die Young
Come to think of it, in the case of Michael Jackson, Bad.

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:18 pm
YES, IT'S BEEN QUITE A YEAR. I HOPE THE TREND CONTINUES THOUGH, IT'S LIKE A DEPRESSING VERSION OF HANUKKAH. A NEW CELEBRI-DEATH EVERY DAY.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:19 pm
Oh man, don't say it's gonna be Andrew Lloyd Webber!

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:23 pm
IT IS GOING TO BE JEFF GOLDBLUM.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:24 pm
SNAAAAAAAAaaaappppppp!

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:24 pm
I KNOW RIGHT, IT KIND OF SUCKS.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:26 pm
Don't tell me it's gonna be Elton John!
All right, we could spend all die- day, I mean day, discussing people we don't want to see killed, but, seriously...

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:27 pm
YES, IT IS VERY UNPRODUCTIVE.
...WILL SMITH.
ANYWAY, WHAT WERE WE TALKING ABOUT?

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:28 pm
NOOOOO!!!!
Er, [SPOILER].

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:29 pm
YES, [SPOILER].
UM, HE'S A PRETTY COOL GUY.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:32 pm
No, not John Cleese!

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:33 pm
WAIT, JOHN CLEESE IS STILL ALIVE?
AWESOME.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:35 pm
Yeah, he directed Pink Panther 2, or maybe he was the executive producer or something, so he's got to still be livin' as of... Soon.
So, [SPOILER], he... Gets killed by Kite?

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:37 pm
HE WAS ALSO IN THE FIRST TWO HARRY POTTER MOVIES.
UM, THAT'D BE QUITE INTERESTING, IF EXECUTED PROPERLY.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:38 pm
I don't think I'd look at her the same way again. Isn't her going through puberty bad enough?

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:40 pm
THE RAVAGES OF PUBERTY LEAVE NONE UNSCATHED, AS THEY SAY.
YEAH... I THINK IT MIGHT BE KIND OF A TACKY EDITION TO HER CHARACTER. MAYBE WE SHOULD MAKE IT SO SHE NEVER KILLS ANYONE? MAYBE SHE CAN IN THE SEQUEL TRILOGY, FOR SOME CHARACTERIZATION/CHARACTER DEVELOPMENT.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:41 pm
Like herself. Suicide is the ultimate character development.

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:44 pm
UNFORTUNATELY THERE'S NOT MUCH LEFT TO DO WITH THEM AFTER THAT.
WELL, WE'RE GETTING TOO FAR AHEAD OF OURSELVES NOW ANYWAY. ONE OF US SHOULD UPDATE THE "ROUGH STORY OUTLINE PAGE" WITH WHAT WE'VE GOT CURRENTLY.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:45 pm
Well, good luck with that.

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:45 pm
...DAMMIT.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:46 pm
See ya.

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:47 pm
BUT I MAY NEED HELP.

Re: Name
From POMegranate to Persomem   Jun 28, 2009 5:48 pm
Just leave blanks or question marks or something, man.

Re: Name
From Persomem to POMegranate   Jun 28, 2009 5:48 pm
FINE, OKAY, JEEZ.

Monday, March 25, 2013

A College English History Essay I Wrote


Realism in the Decameron & the Canterbury Tales
            The Decameron and the Canterbury Tales are two of the most important literary works produced by the Medieval World. They represented a significant departure from the usual literary style. A vernacular style, written in the language of the common people, provided a sense of immediacy and realism to the works. This sudden break from the norm is not without cause. It reflected a new, increasingly realistic style that was making its way throughout all of art. The cause of this sudden swerve in style? The Black Death.
            The Black Death, named after the black and pussy buboes that spread all over its victims’ bodies, first swept over Europe between 1347 and 1250, killing a third to half of the population of the entire continent of Europe. Giovanni Boccaccio, a survivor and firsthand witness to the horrors of the Death, described people’s reactions to the Plague, as we can read in Decameron. Bands of the pious would separate themselves from society to live together in houses in which none had been infected, separating themselves from the rest of the world and eating and drinking only moderately. Others adopted the opposite attitude and erupted into anarchic riotous carousing. All, however, avoided the dead as much as possible, forgoing usual morning services to distance themselves from the corpses of the deceased. Death, however, came relentlessly, striking down people of all classes equally. This tragic plague left people’s faiths shaken heavily.  They turned from the idealistic to the more realistic in their lives as well as in their art and fiction.
            This shift to realism and questioning of faith is reflected in a ribald tale from Boccaccio’s Decameron, which shows the exploits of a monk, fearing being captured with a girl in his cell, tricking his abbot into breaking his vow of clerical celibacy with the girl. This story illustrates one of a multitude of styles found in the Decameron, which is a collection of one hundred stories told by a diverse group of storytellers to each other while locked up in the countryside together to escape the Black Death.
            Another collection of stories from around the same time and written in the same style is the Canterbury Tales of Geoffrey Chaucer, which is modeled after the Decameron. Chaucer, who spoke French natively, decided to write his Tales in the vernacular tongue of Middle English, the language of the common people. Writing in a language that the everyman spoke showed, once again, the shift toward greater realism in art and fiction. In the Canterbury Tales, the diverse group of people, instead of trying to escape the Plague together like those in the Decameron are, is embarking on a pilgrimage together. Chaucer, like Boccaccio, also displays a multitude of styles in his Tales, as he deftly illustrates each of the pilgrims traveling the path to the shrine of St. Thomas à Becket in Canterbury.
            In the sections of the Canterbury Tales he completed before his death, Chaucer showed remarkable skill with words, not only telling the tales but, in the telling, illustrating the personalities of those who are narrating the stories within the context of the Tales. This focus on the characters within the Tales made them come off as real people, enhancing the aspect of realism. Chaucer’s focus on not only the tales being told but the people telling them illustrated the wide diversity of people and lifestyles you could expect to see going on a pilgrimage.
            Pilgrimage was a rite of passage of sorts. On a pilgrimage, a voyage was undergone, and the “pilgrim” who went through it was changed forever by their experiences and emotions, as reflected in the Canterbury Tales. As how proximity to death increased a person’s chances of dying during the Black Death, proximity to holy objects or places increased a person’s likelihood of salvation on a pilgrimage. The pilgrimage itself, the long and arduous voyage along the well-traveled routes to the holy site, was itself an act of penance. Getting away from the dirty streets of their overcrowding cities, full those potentially infected by the Plague, certainly and almost miraculously helped out the pilgrims’ health, causing pilgrimages to become increasingly popular. Entire bands of people, from all social classes and walks of life, went on pilgrimages together, though they would have no reason even to speak to each other under normal circumstances.
We read of one such pilgrim in reading 13.7, taken from the Canterbury Tales. The Wife of Bath, as she is known because of how “five men in turn had taken her to wife,” is painted in sharp brushstrokes.  Swarthy and well-versed in manners of love, she comes in “easily on her ambling horse.” She wears many fabrics and a wide-brimmed hat. This is not her first pilgrimage, either: she is described as traveling from France to Rome, to Jerusalem on no less than three occasions. She is a living, breathing character.
Another aspect of realism revealed here as well as in the Decameron is their portrayal of medieval attitudes to women. We can see them here evolving in social prominence, and a character as major as the Wife of Bath can attest to that. Nevertheless, we still see them as being somewhat of second citizens to men. For example, probably the only reason the Wife of Bath was rich enough to afford all her trips and expensive fabrics was because of all her husbands. In the reading from the Decameron, the girl plays little more than a prop.
We can see, through these examples, how realism came to the forefront of literature during the middle ages, reflecting a shift in public attitudes. After the Black Death, there were just some realities it was impossible to ignore, so they became increasingly addressed in the popular literature of the day. Reality, as unpleasant as it could be sometimes, was worth imitating, even in fiction. After what Europe had experienced, it would accept nothing less.

Sunday, March 24, 2013

Thespis Strip Dated Sunday, March 22, 2009

Click to embiggen.

TRANSCRIPT:
Collin: IS THAT A NEW HAIRCUT?!!
Marvin: You messed it up.
Something good in my life, and...
You're just jealous that I even have hair!
Collin: Ha, ha. You're silly. What does the musical Cats have to do with anything?
Marvin: ! 
...
I said jealous. 
Not Jellicle.
Collin: oh.
I thought you said, "Let's go see the 2nd-longest-running show on Broadway."
Marvin: !

NOTES:

   My goal (at that time, at least) was to sneak in one Cats reference to every project I embarked upon. Here it is, I guess. (Yaaay!) Also, it's kind of apropos given that it's a strip based off of Thespian-ship. This is really one of the only times that's brought up.

Saturday, March 23, 2013

Why It Is

   Do you want it in a list form? I was hesitant at first since it's kind of being analyzed a lot, because others are just as baffled by this phenomenon. But it bears going through with. Here we go:
  1. Iconic design: bright pastel palettes, stylized layouts, characters and animation
  2. Some second thing?
  3. The writing. Keeping each character true to her own characterization, without having the characters become flat in the process.
  4. Morals that people from any age group can apply to their lives.
  5. One specific focus for the fandom, and fans who are fans of fans, and the base that's fan of fans, allowing it to grow healthily.
   Let's focus on point five now. It's basically a subset of the furry fandom, right? Only, with furries, it's more of a vague concept they're fans of. It becomes more of a community than an outright fandom, it's not so much of a "fandom" as... Well, I suppose you have the s.f. fandom, so maybe not. Fans of a genre. (Is "furry" a genre? Well, I suppose, but that's an entirely different can of worms.) Still, this type of "fandom" rallies around a community rather than a specific property. They're thus more likely to be "fans" of each other more than anything. Fans of fans, and so on.

   Bronies not only have that sense of community, of fans of fans, but have also got that one specific focus to their fandom, that being the show itself (as well as of course the tie-in toys and other assorted properties, but we'll get to that in a moment.) A large (often maligned) group, check, whose fandom revolves solely around one property, check. This higher level of focus, Bronies to Friendship is Magic, is more like the Juggalos to Insane Clown Posse. ICP, MLP. Makes sense to me. (Haha, oh man. Juggalos and furries. Yeah, I'm putting bronies in terrific company, aren't I? Not that they don't do that themselves. But I'm alright with these things.)

   Feeding back into the loop is the fact that the base itself is a fan of the fans, releasing official press releases through Equestria Daily and official shurts through We Love Fine. It becomes something of a metafandom. That's what the best of storytelling is. A give-and-tqke with the audience. I'm not sure if this has had precedent before in either form or execution (Hasbro's traditionally been cool with fansites,) but even if it does, bothering to look it up would be missing the point. It'd be unique, each and every time. 

Friday, March 22, 2013

Lichen

   Could we exist in a world so fully entrenched in mediocrity, eating lichen off of rocks for nourishment, that we must needs pounce on the first thing with even a glimmer of quality? Quality is quality, though; when you're good you're good. Still, if that were to hold true, could we not achieve our quality elsewhere, and through less ponyish means of entertainment?

   Why is Friendship is Magic such a good show? It's all things good and decent and wonderful. It's a show specifically for young girls but designed to have appeal for a far broader audience. So it's fun and clean and uplifting. That could be said of a lot of things. Strawberry Shortcake, Rainbow Brite, Care Bears? All of these properties started out as designs on greeting cards. My Little Pony was designed to sell toys. Could that be it?

   Friendship is Magic. My Little. Pony. Magic. Pony. Magic. Pony Magic? Yeah, that's good. Horses, through being alongside us for all of human history, have distinct lyrical ties. Medieval Europe, the American (and I guess Australian) Old West, legendary and mythic horses like Pegasus. So that gives us the archetypes for Pegasi, unicorns, and (just plain old) earth ponies. It's horses. The magic is an integral part of this. It extends to the core.

   Style and substance? The horses aren't just the style, but the substance. Example. Without serial killers, say, Silence of the Lambs wouldn't be, so the darkness is necessary. Contrariwise, the lightness is necessary for Friendship is Magic.

   (Just trying to think of a way to slip Cupcakes into this. I guess.)

   It's a My Little Pony show, meaning it's designed to sell toys, meaning the adventures are meant to be able to continue beyond the screen. It's supposed to capture the imagination. Yay. That also causes the idea of personalization: being based off of that which is meant to be collectible, the character design has a sense of customization, from the colors to the mane style to the cutie marks. I guess that's another thing that comes from that.

   If it weren't My Little Pony, it wouldn't be good.

   Bizarre.


Thursday, March 21, 2013

My Little Redesign

I went there. But I would be remiss if I didn't.
   My Little Pony: Friendship is Magic is noted for its Faustian (that's Lauren Faustian) design style. I'm not sure if there are any people really confused by this, unsure how ponies could go from this...



to this:


...but if there are, this post is for you.

   It's not just a matter of totally new non-sequitur redesign. My Little Pony has undergone quite a few alternate designs over the years. There's Generation 2, which featured more realistic pony proportions (and has thus been called the "My Little Anorexic Pony" by fans...)


   Then there's Generation 3.5, still technically Gen 3 but with a complete design re-haul of the more Gen-1-inspired design.


   I'm not sure where this fits in, but there's also the Takara Japanese Generation 1 series (by far my favorite.) Just look at this stop-motion animated toy commercial.


   愛らしい!

   But like I said, this design is one of the things that allows it to be, not only good, but popular. That's... really it. Iconic character design. Remember, it's based on toys, and is meant to capture the imagination. Iconic design captures the imagination of artists, certainly. Remember also that the character design has a sense of customization, from the colors to the mane style to the cutie marks. It's ideal for making OCs. So there's that. All of these things. Lauren Faust designed both this style and the idea that the property should hold broader appeal.

   Can something be fortuitous if it was planned that way?

(Images via My Little Wiki and the Friendship is Magic Wiki.)